UK Theatre Network

“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.

Sensational and sexy are words that don’t go far enough to describe the spectacular that is Chicago. This truly is an un-missable production.

It tells the story of two murderesses- Roxie Hart and Velma Kelly- who meet in jail, and compete for the attention of their lawyer Billy Flynn, who has the power to make them ‘stars’. They, like all the other women in there, have committed crimes of passion; which adds to their sexiness, and fuels the public’s interest in them.

Emma Barton; best known as the diminutive Honey from Eastenders, wows crowds as Roxie Hart. Her voice is phenomenal, and she captures every note of Kander & Ebb’s numbers perfectly. Strutting the stage in Hart’s sassy manner, she looks as if she was born to dance Fosse. The choreography is slick and spellbinding, and the audience are transfixed, and transported into 1920s America, from the moment the curtain rises.

Another treat is to see Gary Wilmot in the role of lawyer Billy Flynn. He steps into the shoes of this flash, arrogant; but likeable lawyer with such great ease that it’s hard to imagine anyone else ever playing this manipulative showman. At the other end of the spectrum is the shy and retiring Amos; played beautifully by Adam Stafford. Whilst Amos relates himself to cellophane; Stafford is anything but un-noticeable.

The stylish and sleek set; combined with the dark and sexy lighting really set a sizzling mood. It’s all about showbusiness; but lights casting bars across the stage are there to constantly remind us we are on death-row. It’s a hot, emotion-rousing and comedic production. Let it razzle-dazzle you!

LISTINGS

Chicago

Mon 5 Oct – Sat 10 Oct

Wed, Thurs 19.30; Fri 17.00 and 20.30; Sat 14.30 and 19.30

Tickets: £19 - £35

Box Office 0844 871 7648 (Bkg fee)

www.ambassadortickets.com/glasgow (Bkg fee)

All aspects of Oscar Wilde's story of Dorian Gray are beautifully captured by Matthew Bourne's company.

The emotions and moral intricacies of this gothic fable are performed in a visually exciting, and captivating way; and Terry Davies' score greatly adds to this and portrays the emotions. Gray is a hedonistic and narcissistic young man who makes a pact with the Devil to never age and to become immortal. He lives a immoral and excessive life until he finally gets bored with it all. He falls in love; but has a terrible secret to hide. Whilst his physical beauty shows nothing of his lifestyle or Faustian pact; his 'painting' hidden in the attic bears the scars of every one of his debauched deeds- creating a hideous image of who he really is. Except, in this production, Bourne has chosen to physicalise this painting in the form of a doppelganger of Gray- a decision which highlights the themes of duplicity in Gray's novel, and makes a much more powerful image for the audience; which makes Gray's fears and need to hide the truth even more believable.

The dancer's capture this often chilling tale with such ease, and it is truly gripping to watch. A modern design puts Wilde's story firmly in the 21st century; showing how it truly is a universal tale; and fits perfectly with our current image-obsessed world. The dancer's costumes firmly capture this modern and edgy world; where beauty and image are everything. The stark lighting of Paule Constable also capture's the black and white-ness of this fashion society. The dance style is alluring and seductive; and Richard Winsor brilliantly portrays Dorian with real passion and emotion.

It is clear that Bourne has put a great deal of thought into his choreography and devising of the

production; and it pays off. Both avid fans of Wilde's work, and new visitors to the tale will thouroughly enjoy this production and the twists that Bourne has added- his modern interpretation; and bringing the homosexual subtexts of the novel to the forefront, for example.

A most enjoyable and thought provoking night out. It's a must for everyone.

LISTINGS

Dorian Gray

Wed 30 Sep – Sat 3 Oct

Wed – Sat eves 7.30pm

Tickets: £19 - £35

Box Office 0844 871 7647 (Bkg fee)

www.ambassadortickets.com/glasgow (Bkg fee)

Rocky Horror’s Richard O’Brien presents a new musical based on the work of Pulp Fiction novelist, Carter Brown.

Breaking new ground in the world of musical theatre is a tough gig in the 21^st century.  We’ve already covered everything from Cats to Vietnam and cartoons to the Wild West in this popular theatre genre.   Lyricist Richard O’Brien, of Rocky Horror Show fame, has been inspired to put pen to paper with The Stripper to bring the world of the ‘dime novel’ to the musical stage, though, so that alone should be enough for us to sit up and take notice!

Lt. Al Wheeler (Jonathan Wrather) struggles to solve the mystery of the death of a wannabe actress.  He is drawn (not unwillingly) into the seedy world of strip joints and lonely hearts clubs as he tracks down the killer.  His key informant is night club stripper, Deadpan Delores (Emma-Jayne Appleyard) but he has no shortage of suspects including club boss, Miles Rovak (James Earl Adair) and dating agency owner Mr Arkwright (played by Richard O’Brien himself).

Despite moments of genius, the show didn’t quite hit the mark.  Establishing so many characters as suspects took a great deal of time in the first act.  Music was lively but the atmospheric 6 piece band often drowned out Mr. O’Brien’s lyrics where, I’m sure, lots of comedy value could have been found.  The first act finale, “A Man of Steel”, however, lifted the tempo and left us in no doubt about how firmly the tongue should be placed in cheek.  The improved pace continued into the second act with fabulous numbers like “Let’s Hear It For The Tough Guys”, “I Confess” (hilariously presented by Jack Edwards) and “Planning My Big Exit”.

The Pulp Fiction genre was well observed and the 1961 atmosphere was preserved by a catchy score, the practical set and sympathetic lighting (featuring particularly effective blackouts – a long lost art in my book!).  The show was reminiscent of “City of Angels” with its Los Angeles backdrop, gumshoe storyline and (sadly) its lack of broad appeal as the audience was a little thin.  Worthy of the ticket price but could do with a snappier first act.

LISTINGS

The Stripper

Tue 29 Sep – Sat 3 Oct

Tue – Sat eves 7.30pm

Wed & Sat mat 2.30pm

Tickets: £12 - £25.50

Box Office 08448 717 648 (Bkg fee)

The 25^th anniversary tour of Richard Harris’s “Stepping Out” opened at the King’s Theatre last night to a warm reception from an appreciative Glasgow audience enjoying a freshly refurbished auditorium.

The play is probably best known for its 1991 movie incarnation starring Liza Minnelli, Shelley Winters, Ellen Greene, Jane Krakowski and Julie Walters. The powerhouse nature of the movie cast indicates the ensemble nature of the piece where every character is equally important to the successful delivery of comedy and drama.

West-end dancer turned teacher, Mavis (Lucy Williamson), leads her mismatched adult tap class through the basics of dancing for fun and fitness.  She is a selfless character who enjoys teaching most when others enjoy being taught.  However, the class are an unruly (if well intentioned) lot formed from assorted misfits from varied backgrounds including overly eager Dorothy (Karen Traynor), overweight Lynne (Katie Kerr), larger than life Sylvia (Jessie Wallace) and largely silent Geoffrey (Brian Capron).  Pianist Mrs. Fraser (Rosemary Ashe) keeps mob rule at bay with carefully timed rubber bullets in the form of stinging one-liners!  The group are placed under pressure when Mavis accepts an invitation for the class to demonstrate one tap routine as part of a low key local charity event.  Bedlam ensues!

The play is highly entertaining as the witty script is delivered by well defined characters who each portray unique attributes that the whole audience can relate to.  The character of busybody Vera was particularly well played by Susie Fenwick who could clearly start an argument in an empty house.  Headliners Jessie Wallace and Brian Capron were highly entertaining employing physical comedy as much as sharp delivery of dialogue.  Director, Richard Baron, kept the play well paced throughout.

All in all this is a highly entertaining piece and well worth the ticket price.

Listings Info:

Tue 15 – Sat 19 Sep

Tue – Sat eves 7.30pm

Wed and Sat mats 2.30pm

Tickets: £11 - £25

Box Office 08448 717 648 (bk fee)

www.ambassadortickets.com/glasgow (bkg fee)

With sales far beyond expectation and wedges of moolah now in the company’s bank account, Helensburgh’s innovative business, AnElephantCant, scored a major success at the recent Homes & Interiors show at Glasgow’s SECC.

The product this time is, as we’ve reported on before - Waje - and the strapline is ‘Shuffle your Waje’. It’s a hip phrase and it’s a neat concept - WAll JEwellery. The notion is dressing your walls without breaking the bank - and creating different relationships between the artworks as you do with your clothes.

The neat trick has been the creation of a special fabric on which the artwork is printed - one taking a specific adhesive device that allows the prints to be easily moved around. What you get is art on your walls with all the unpretentious serendipity of the poster - but with more substance and durability and a system that makes swopping around and creating new combinations of the objects quick and fun.

They describe it as ‘fine art at consumable prices’ and the art in question is original material by Greenock’s Phil Burns who, with Brian Cairnduff, is a partner in An Elephant Can’t.

Cairnduff says that, with their partners Richard Fildes and Bill Laughlin of 2Canvas, he and Phil had targeted this prestigious show as a market trial for waje - wall jewellery: ‘to test whether the great Scottish public was ready for this radical challenge to how art is packaged, sold and viewed’.

It was.

Reeling from the success of their bold investment, Cairnduff admits: ‘There are now dozens of folk out there with waje on their walls. They looked, they questioned and they bought. Most people took it on board very quickly, loved the idea that you don’t need frames, glass or nails, and were intrigued by the fact that is is moveable. The waje shuffle just took off!’

He pays tribute to the 2canvas team, saying: ‘The work done by Ricky and Bill was critical to this success. The high quality and resilience of the silk-like paper coupled with the ‘magic’ no-residue adhesive was a major factor in allowing Phil’s art-work to be presented in the best possible way’.

Naturally there a few sniffs from the oxygen-thin altitudes of the Scottish art establishment. While one art expert said: ‘You guys have created a new way of selling art’, Brian Cairnduff noted that: ‘Some dealers, of course, were less enthusiastic. But I guess even an elephant can’t please all of the people all of the time’.

They almost bottled it. ‘We were sitting in a cafe outside Partick station, wondering if this was a really dumb idea even by our standards. We had done some market research, of course, but mainly through people who knew us. Taking Waje to an audience of thousands of complete strangers was suddenly an intimidating prospect.

Then the teenage waitress bounced up to our table with that special vitality that characterises so much of what Glasgow is about. I looked at Phil, he was grinning back at me.

“Joie-de-vivre”, he said, “That’s what we sell and people will buy it”.

And we’re taking no bets on what’s coming down the track next. ‘Wait till you hear our next scheme’, we heard, chortling in the ether. ‘We are going on a Great Highland Tour’. Will it be Loch Ness?

GARY WILMOT STAR AS ‘BILLY FLYNN’ ALONGSIDE EASTENDERS STAR EMMA BARTON AS ‘ROXIE HART’

LET THE KING’S THEATRE RAZZLE DAZZLE YOU WITH “CHICAGO”!

Gary Wilmot, star of West End musicals including “Chitty Chitty Bang Bang”, “Me And My Girl”, “Carmen Jones” and “Copacabana”, has played major UK tours with “Oliver!”, “Half a Sixpence”, Willy Russell’s “One For The Road”, Alan Ayckbourn’s “Confusions”, and “Travels with My Aunt”. More recently, Gary has appeared in “HMS Pinafore” at the Open Air Theatre Regent’s Park and as ‘The Lion’ in “The Wizard of Oz” at the Royal Festival Hall.

Emma Barton is best known for her role as ‘Honey Mitchell’ in BBC1’s “EastEnders”. Her other television roles include “Spooks” on BBC1 and “Secret History” on Channel 4. Previous stage roles include ‘Peggy’ in “The Secret Garden” (RSC), ‘Norma Cassidy’ in “Victor/Victoria” (Bridewell) and ‘Marty’ in “Grease” (Victoria Palace Theatre).

"CHICAGO", which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb.  Scenic design is by John Lee Beatty, costume design by William Ivey Long, lighting by Ken Billington and sound by Rick Clarke.  Musical supervision is by Rob Fisher.  "CHICAGO" is choreographed by Ann Reinking in the style of Bob Fosse and directed by Walter Bobbie. 

 “CHICAGO” opened at the Adelphi Theatre in London on 18 November 1997 to rave reviews, winning the 1998 Laurence Olivier Award for 'Outstanding Musical Production' as well as the 1998 Critics Circle Drama Award for 'Best Musical', and immediately became a sell-out hit.  The show in London, now at the Cambridge Theatre, has just entered its twelfth year. “CHICAGO” currently plays in New York, Japan, Denmark and on tour in the US, with forthcoming productions in Australia, Korea, Holland and Spain.

The National UK Tour of “CHICAGO” is produced by David Ian Productions in association with the Broadway producers Barry and Fran Weissler.

www.chicagothemusical.com/uktour.php

Review by Laura Pearson.

The B.F.G took to the King's Theatre in Glasgow last night for the first performance of its run in the city providing the audience with a low-quality production.  With a touring production covering major theatre venues one would expect a show with high-production values.  What was witnessed was something that would be more suited to a school hall.  It had all the qualities and charms of a primary school touring production or festival storytelling event and none of the pizzazz that one would expect to come from a major theatrical venue production about a magical giant.

It is indeed a storytelling session rather than a play.  Any hopes of entering another world and suspending disbelief are shattered within the first five minutes as the cast announce that they are going to 'pretend' to be giants and tell Roald Dahl's story to us rather than just bring the story to life in a realistic way.

The play begins with the birthday party of Sophie and when the booked entertainment doesn't arrive the party guests decide to act out the story of The B.F.G instead using Sophie's costume box.  It's a premise that does not work well at all.  One is aware throughout that we are not indeed watching a giant but that we are watching guests at a birthday party pretending to be giants, hence cutting off any emotional response or captivation from the audience with the material so carefully crafted by Dahl.

In the story, a little girl called Sophie is taken from her Orphanage by the Big Friendly Giant and taken to a land where horrible child-eating giants are its citizens. With all the modern theatrical effects that can so easily be achieved this story could have been told in such a realistic, believable and emotion-rousing way.  Instead, what the production provides is a little rag doll called Sophie being held and moved by the adult-sized Sophie at the birthday party.  With her standing next to a regular sized man, who was indeed the father in the birthday party scene, and who has done little to change his appearance except put on a cloak and sandals; one cannot fathom a relationship between a little girl and a giant at all.

This is indeed a very low-budget production.  Costume is used very poorly and adds nothing to the atmosphere that the cast are trying to create. The rest of the birthday party guests remain in their own clothes as they put on the heads of giants.  They also play their own instruments providing the soundtrack to the story which only adds to the problem of realism and believability.  The set is also very simple, creating nothing of a magical atmosphere.  The space was not put to good use at all. Flaws in the design are evident right from the start when white rag doll Sophie spends all of her time on a white table making it impossible for the audience to experience the nuances of the doll's movements being made by the adult actor holding her.

The cast also do very little to allow us to imagine the characters that they are portraying.  They are all visibly adult actors playing children; and the show's attempts to make this believable aren't pulled off.

Children aged five to ten who enjoy being told a story would probably enjoy this. Anyone else should steer clear. It's 'The B.F.G' on a budget. A production that fails either to captivate or enchant.

Listings Info:

THE BFG

King’s Theatre, Glasgow

1 – 5 September @ 7pm

Tue & Fri @ 7pm

Wed 10.30pm & 5pm

Thu 1.30pm & 5pm

Sat 11am, 2pm & 6pm

Tickets: £10 - £16.50

Box Office 08448 717 648 (Bkg fee)

www.ambassadortickets.com/glasgow (bkg fee)

UK Productions bring Singin’ In The Rain to a rather wet and windy Glasgow, adding some bright spots to the evening.

There are a number of good points to this current tour of Singin’ In The Rain, but unfortunately these are equalled by a number of bad points. It’s never easy to recreate a film on the stage, especially something as spectacular as the MGM’s Technicolor extravaganza Singin’ In The Rain. The story of the introduction of “talking” pictures into the movie industry had some spectacular set pieces in the film, however, it appears that instead of coming up with an ingenious design to try to recreate that magic, UK Productions have gone cheap and made a rather basic set with very few design features to dazzle. Luckily the enthusiastic and talented ensemble added their own dazzle making the chorus numbers a highlight in this show. Using some very witty choreography, which encomapasses some of the traditional elements you’d expect of Singin’ In The Rain, along with some other clever dance elements, choreographer Graeme Henderson sets out his stall well. The fact he is also playing the role of Cosmo Brown is a testament to his talents. It was only a shame that his own “big number”, Make ‘Em Laugh, was not given the same amount of wit, but I think this was more due to the directed elements than the choreography and performance.

The other principals are all extremely able, however I was disappointed in the rather restrained performances from Tim Flavin and Jessica Punch as the leading man, Don Lockwood and his new love interest and aspiring actress, Kathy Selden. Both these performers are obviously talented, but don’t seem to deliver the full impact required for the leading performances. It seems much of this is down to Alison Pollard’s direction, as the final lead principal, Amy Griffiths playing the beautiful, but gratingly voiced Lina Lamont, seemed to be much the same, until her own “big number”. In this performance of What’s Wrong With Me we got the chance to see that even while playing the “can’t sing, can’t dance and can’t act” Lina, Miss Griffiths can definitely sing, can definitely dance, and uses her fantastic acting ability to hide these great talents throughout the rest of the show!

That said, Mr Flavin and Miss Punch did have moments where they got to show off their performance skills. The character of Kathy Selden does seem to shine during the choral numbers she’s involved in, and stands out during the fantastic set-piece of Good Morning (including the iconic sofa-tipping moment from the movie). This received the longest applause of the evening, as it was a non-stop, high energy dance routine involving the three leads doing what they seemed to do best. Mr Flavin, alongside Mr Henderson, also showed off the fancy footwork during Fit As A Fiddle and Moses Supposes, two high energy numbers with lots of character.

Unfortunately all the low points came together at the end of act 1, with the iconic title number. The rather bland set and lighting design was no more evident than when the “rain” started. One strip of water falling along the front of the stage and a rather lacklustre song and dance from the leading man, meant that this was unfortunately the low point of the show. There were no puddles for the leading man to splash in, and by using the whole stage to dance, he spent so little time in the rain, he was barely damp. If he’d done this number in the rain outside on Hope Street, they could’ve saved a fortune on the rain machine, and created a much better effect!

The live Orchestra (can 7 people really be credited as an Orchestra?) were fantastic and did give a very full sound. Along with the great harmonies from the ensemble, the hummable tunes and showstopping numbers, you can see why although this is probaby the original juke-box musical (Arthur Freed asked Betty Comden and Adolph Green to come up with a show using his best songs), it has managed to stand the test of time. That said, I think UK Productions need to spend some time and money on this classic to give it the performance it deserves.

Listings Info:

Tue 1^st – Sat 5^th June

Tue – Sat eves 7.30pm

Thurs & Sat Mat 2.30pm

Tickets: £12 - £30

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