Theatre Royal, Glasgow (17 - 31 December 2011)

Ahead of the curtain there is a real feeling of anticipation in the auditorium.  A look through the beautifully presented programme / brochure featuring details on composition, artistic process, company and rehearsals gives a sense of the love, care and reverence that this production has received.  As the lights dim, there is just time to glance into the expansive orchestra pit of the Theatre Royal to see row after row of attentive musicians as they await the first upbeat from Resident Conductor, Richard Honner.  We are clearly in for a Christmas treat!

The curtain opens on a simple scene outside a doctor's office as the concerned King (Owen Thorne) and Queen (Eve Mutso) learn of their inability to conceive a child.  But the good Lilac Fairy (Noellie Conjeaud) is able to intervene with magic.  The doctor's office is swiftly struck to reveal the impressive set of the Royal Gardens featuring a substantial summer house which pivots smoothly to allow space for the ensemble to weave their magic of dance in celebration of the Royal Christening.  In this open setting we are also able to appreciate the lighting effects adorning the set from Designer, Anthony McDonald.  Subtle but effective changes of colour are used to influence mood as the many principals perform for the assembled Royal Party.  We are also treated to a mist effect around the trees giving the backdrop an ‘other-worldly' quality appropriate to the tale.  The quality continues into Act II as the enchanted forest setting is given an ethereal depth as we meet more fantastic characters like Snow White, Cinderella and Red Riding Hood.  Costume-wise, we are treated to flowing gowns and royal finery across two centuries as the Beauty, Princess Aurora, and her royal court sleep for a full hundred years.  With the initial part of the tale set in 1830, the story reaches a happy conclusion in 1946 … and it is a real joy to see such breathtaking choreography performed in 20^th century costume.

Tchaikovsky's immortal score was performed with power and sensitivity by the Scottish Ballet Orchestra.  Ashley Page's artistic direction incorporates a great deal of humour with the bad fairies portrayed as wicked (rather than evil) for the family audience.  Several laugh-out-loud moments reached a peak, for me, at Princess Aurora's birthday celebration as the audience was teased with a number of sharp objects upon which the cursed Princess might prick her finger.  Would it be the hedge shears wielded by the gardeners (who looked strangely like the bad fairies), or perhaps the swords worn by Aurora's four suitors … no, it would be the 8 foot tree-like comedy cactus presented in a gift pot at the end of the scene!

Performances from Claire Robertson and Eric Cavallari as Princess Aurora and her Prince were captivating and I would be remiss were I not to mention the beautifully charismatic performances from Tomomi Sato as the Fairy of Song and Lady Bluebird.  All of the principals were expressive and displayed superb synchronicity throughout the performance.  The production was exquisitely executed and a joy to behold.

Listings Info:

Scottish Ballet "The Sleeping Beauty"

Sat 17^th to Sat 31^st December 2011

Tickets: £7 - £35

Box Office 08448 717 647 (Bkg fee)

http://www.atgtickets.com/Scottish-Ballet's-The-Sleeping-Beauty-Tickets/2/530/ (bkg fee)

Tour details:

Festival Theatre Edinburgh
11 - 14 January 2012
Tickets from £10
Box Office 0131 529 6000*
BOOK ONLINE NOW  Full booking details

His Majesty's Theatre Aberdeen
18 - 21 January 2012
Tickets from £11.50
Box Office 01224 641122*
BOOK ONLINE NOW Full booking details

Eden Court Inverness
25 - 28 January 2012
Tickets from £14
Box Office 01463 234 234*
BOOK ONLINE NOW Full booking details

 Theatre Royal, Newcastle
1 - 4 February 2012
Tickets from £10
Box office 08448 11 21 21
BOOK ONLINE NOW Full booking details

To really get in the festive mood you need some Christmas songs, and there is no better way to hear them than sung by the Rat Pack legends (or actors who perform as them – and are as close to the real thing as we are ever going to get!).

This festive spin off of “Rat Pack Live from Las Vegas” has been a successful touring hit for many years, and there have been a number of Franks, Sammys and Deans who’ve performed the classic songs all over the world. Tonight Chris Mann opened the show as Frank Sinatra, the leader of the pack. With a velvet voice and equally velvet manner, it really did seem like Ol’ Blue Eyes himself was there. Usually with most “tribute” shows, they’ve mastered the voice and if you close your eyes you can imagine it is the star themselves, but Chris Mann has such a look of Sinatra that you can take in the whole performance wide-eyed. As if that wasn’t enough, Nigel Casey as Dean Martin seemed to not only look and sound like the star, but seemed to have the same charisma and charm that he was famous for. His interaction with the audience and his fellow performers made it feel like we really were sharing an evening in the Sands, Las Vegas while watching three of its biggest stars at play.

The third member of the Rat Pack on this show is Sammy Davis Jnr, and this is a very difficult performer to match. I suppose the strength of this kind of show is down to the cast and although George Long had the energy of Sammy Davis Jnr., his vocals didn’t seem to be quite as close a match as his fellow performers. All three were accompanied by Nikki Stokes, Laura Parkes and Jennifer Owen as the Burelli sisters. A fantastic trio who wowed with three part harmony and tight choreography to bring the glamour of these nightclub shows to life. They were also assisted by a fantastic (brass heavy) live band, who gave the whole evening a fantastic sound, and I think received an even bigger applause than the singers for their work. I had never known a trombone could be so tuneful as was shown during the solo from Andy Watson in “I Got You Under My Skin”.

The simple staging of this show is one of its best features. The setting is deliberately intended to hark back to the golden era of the Rat Pack, and the use of lead mics, and the clever choreography required to use them well, is a nice touch that when added to the subtle lighting, grand piano and stunning costumes, provides a classy evening of festive glamour that would certainly be worth raising a mulled wine to!

Listings

Mon 5^th Dec – Sat 10 Dec

Mon – Sat eves: 7.30pm

Thuu & Sat mats: 2.30pm

Tickets: £11 - £29

Box Office: 08448 717 647 (bkg fee)

www.atgtickets.com/glasgow (bkg fee)

There have been musicals inspired by books (Oklahoma, Wizard Of Oz), by movies (Dirty Dancing, Flashdance), by the back catalogues of huge bands (We Will Rock You, Mamma Mia) and now there is a musical inspired by a compilation CD!! Dreamboats and Petticoats was put together after the success of the CD containing the hits of the late 50s/early 60s and has brought audiences out in droves to see the music performed live on stage.

With a rather basic story (as with most musicals) of boy and girl who are perfect match, not realising it and spending the rest of the show “missing their moment”, this musical is mainly contrived to show off the many songs. And I must admit, they show the songs off to a great degree. With the cast playing all the instruments live on stage, it gives another edge to the young talent on display. To see ensemble dancers playing brass instruments while keeping up with the dance routines is an achievement in itself!

On the downside, not all were up to the standard required to deliver the performances needed for this high energy show. Ben James Ellis (the only “name” in the cast, as a previous contestant on BBC’s Any Dream Will Do) was disappointing vocally and was inconsistent in accent throughout the show. He did have the confidence the role required, but unfortunately it did seem misplaced on this occasion. However, the leading roles more than made up for this. David Ribi as Bobby hit every note (and had quite a range to cover) while also creating a wonderful character who gained the symapthies of all in the audience. The standout performance however was Samantha Dorrance with a touching portrayal of the soon to be 16 year old Laura. Her ability to touch hearts with moving ballads was matched only by her belt voice in the upbeat numbers – and she also showed she was a more than able dancer and put the rest of the cast to shame.

With good support from Katie Birtill and Anna Campkin as the more streetwise girls and from Josh Little as the dim-witted friend this show is a good showcase for young talent and I’m sure we’ll see many of these names emerging into bigger roles in the coming years.

For a feel good musical, with some mainly inoffensive humour, great live music and some classic songs, Dreamboats and Petticoats is a perfect antidote to the increasingly wintery weather that has blown in from the West.

Performances:

Mon – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Tickets: £11 - £32

Box Office: 08448 717 647(bkg fee)   web: www.atgtickets.com/glasgow

If Glasgow’s Theatre Royal is currently hosting the stage version of the archetypal girl power Chick Flick (Legally Blonde), then The Kings have gone one better with this stage adaptation of the hit “woman-power” film, Calendar Girls.

Based on the real-life story of a band of women from the WI who set about to raise funds for charity in response to one of their husbands being diagnosed with Leukaemia, this is a play full of poignant emotion. However the memorable factor that most audiences will take away is the humour.

With Lynda Bellingham returning to the role she originated on stage as Chris, the friend of the recently widowed Annie (played with grace and a real believability by the wonderful Jan Harvey) we get to see her back at her best. After years of presenting as a “Loose Woman” it was good to see Ms Bellingham showing her talent as an actress again. With a great rapport between these two leads the friendship of the characters was made to feel so real to the audience that you really invest in their journey throughout the show. Jennifer Ellison is another returnee to the touring production, this time strangely in the role of Cora – a part which she looks a bit too young for, but handles the humour well. Rula Lenska as trophy wife Celia also has some great killer lines (as well as some killer heels – amongst other assets!) as the “lush” of the group. The small moment where she reveals some of the sadness in her life is a great chance for Ms Lenska to wipe the memories of her strange appearance on Celebrity Big Brother and remind us of her acting talents.

June Watson as the “elder stateswoman” of the group is a revelation. Her dry put-downs and sarcasm provide some of the funniest moments of the show exceeded only by the scene staging the infamous calendar shoot!). And in mentioning the calendar shoot, it would be remiss of me not to mention Debbie Chazen as Ruth. who definitely steals that particular scene, a meek and mild-mannered character with a heart of gold who seems to always be taken advantage of. Ms Chazen, best known for comedy sketch shows, shows a subtlety of performance in certain scenes that draw the audience into her story and I think both her moments of strength in the show gained the biggest applause from the audience on the opening night. With great support from Ruth Madoc as aspiring social climber (ie. snob!) and head of WI branch Marie and cameos from Jane Lambert and Camilla Dallerup this is a formidable line up of ladies.

The men are due a mention too – for a show aimed at the female market it is refreshing to see the men portrayed in a good light (although the script was written by a man – the very witty Tim Firth). Joe McGann provides a very warm and touching performance as the likable John, the ill-fated husband. John Labanowski as Rod carries on this style as husband to the pushy Chris and Bruno Langley also has two very different cameos as the shy photographer Lawrence, and pushy Ad Man, Liam.

The set design is not only clever technically, but it’s simple style combined with Jack Ryder’s direction keep the pace of this production moving along nicely – and for this current touring cast’s opening night, it certainly appeared to be a very smooth ride.

This play has toured previously and it is constantly refreshed by the changing of cast members – and although many plays of that set up can fall foul of the “famous names/stunt casting” trap, this production proves that using famous names can work well – especially when they are as talented as Lynda Bellingham and company.

You can catch this talented cast at the Kings Theatre Glasgow until 3^rd September or on tour until December (see www.seecalendargirls.com for details).

Performances:

Mon – Sat eves 7.30pm

Wed, Thu & Sat mats 2.30pm

Tickets: £11.50 - £27.50

Box Office: 08448 717 648(bkg fee)   web: www.ambassadortickets.com/glasgow

The girl power chick flick has already stormed Broadway and the West End in its current incarnation as a stage musical, and looks set to do the same on it’s first ever UK tour.

This show is full of vibrancy and excitement – partly due to the score and script (the wit here definitely exceeds the “chick flick” tag) and in the main down to the young, energetic cast. Full of newcomers, this ensemble show has many stars in the making. Charlotte Harwood plays the straight-laced and vicious tongued Vivienne with great style – and in the title track gets to show some impressive vocal chops too. Neil Toon as Warner, the initial love interest of the main character delivers good vocals and a rather inoffensive character – I would have preferred to see a bit more attempt to lose the sympathies of the audience to help drive the story. One actress who did impress was Liz McLarnon (of Atomic Kitten fame) in the role of new-found confidante Paulette. With a difficult New York Irish Italian accent to deliver, she did well and really sold her character to the audience with excellent comic timing and a real sense of sadness and joy in the journey of her character.

The biggest character journey however is that of Elle Woods, the show’s heroine. Being able to gain the sympathies of an audience when your character begins as an egotistical, materialistic airhead, is a testament to the warm performing style of Faye Brookes. With previous incarnations of this show using a TV name in the lead role, this was a brave choice by the producers to cast a relative unknown to headline the tour. Their faith however is completely justified. A great comic actress and a fantastic singing voice make Ms Brookes the perfect casting in the role played by Reece Witherspoon in the film production. The experienced hand in this tour is Dave Willetts as Callahan, the professor and mentor to the Harvard Law students. With strong vocals and commanding presence it was good to see Mr Willetts back on form. With great support from Iwan Lewis (definitely a name to watch out for) as Emmet and a great cameo role from Hannah Grover as Fitness Video Queen Brooke Wyndham in a routine that requires more stamina than an army assault course – while still retaining tight vocals.

The only thing letting down this production is the set. Being one of the most expensive tickets at the Theatre Royal this year, it is disappointing not to see that reflected on the stage. Many set pieces looked worn and tattered already, which is unacceptable in a first UK tour of this standard. Luckily the performances well outweigh this and it would definitely not stop me returning to see this show again.

Glasgow’s Theatre Royal are very much getting into the Legally Blonde spirit while the show is here, with Nailzone beauty doing nail treatments and Blue Dog cocktail bar (who have even created a special “Bruiser” cocktail named after the show’s cute canine star) offering the full fraternity house experience.

Performances:

Mon – Sat eves 7.30pm

Thu & Sat mats 2.30pm

Tickets: £18.50 - £45

Box Office: 08448 717 647(bkg fee)   web: www.ambassadortickets.com/glasgow

Lee Hall has another hit on his hands with The Pitmen Painters. Having shown previous talent in writing Billy Elliot and Cooking With Elvis, his knack of transferring northern humour into dramatic comedy is on stage again in this witty play.

Based on the true story of The Ashington Group the play follows a group of miners from Northumberland who, as part of their weekly Workers Enrichment programme, employed university art lecturer Robert Lyon (played here by David Leonard) to teach them Art Appreciation. Finding difficulty in expressing to each other, Mr Lyon pursues a course of practical teaching and the men begin to paint. They show varying degrees of talent and the initial banter between the men shows a great deal of the typical northern humour you’d expect. Witty dialogue and great comic timing shows why this play managed a transfer to Broadway (although I have no idea what the Americans will have made of the accent!). David Whitaker and Deka Walmsley as Jimmy Floyd and group leader George Brown play well off each other and the rest of the group and have perfected the art of the “comedy silence” (holding their response until the audience have hit fever pitch in the laughter). Michael Hodgson and Brian Lonsdale provide good support in the roles of Harry and the oddly credited Young Lad. However the performance of the night was definitely Trevor Fox as Oliver Kilbourn. To see a man from such a hard working background struggle to deal with the emotions of an artistic talent was truly touching at times. Mr Fox’s delivery had a real honesty, while still delivering some great comic moments too.

In such a male heavy production, the female roles do seem somewhat of a caricature, and Joy Brook’s overly posh portrayal of Helen Sutherland did seem a little forced on the accent side, although her scenes with Mr Fox did allow her to show some truth in her performance and did bring about one of the most touching parts of the production. Viktoria Kay brought a vibrancy to the role of Susan Parks, and although only a minor role she ensured that it did not fade into the background.

The combination of direction from Max Roberts and the design from Gary McCann make this an extremely smooth production. With a single stage and cast moving all the furniture and the room slowly gaining more of the artwork by the group did give a nice visual development of the set along with the skill of the group.

The use of projections did seem to jar slightly to begin with, but did make perfect sense and being able to see this artwork was nearly as much of a delight as seeing the play itself.

Performances:

Mon 25 JUL:   7:30pm

Tue 26 JUL:    7.30pm

Wed 27 JUL:   7.30pm

Thu 28 JUL:    2.30pm, 7.30pm

Fri 29 JUL:      7.30pm

Sat 30 JUL:     2.30pm, 7.30pm

Tickets: £17-£26

Box Office: 08448 717 647(bkg fee)   web: www.ambassadortickets.com/glasgow

A triumphant return for The Imperial Ice Stars as the bring a restaged version of their acclaimed production of Swan Lake On Ice back to Glasgow.

After being astounded by this company and this show the last time it appeared, I was excited enough to be back watching a beautiful interpretation of the story combined with thrilling and daring ice dancing. However to discover that the show had even more elements added was indeed a bonus - and a sign that this is a production company never to rest on its laurels.

Olga Sharutenko (a previous professional on TV's Dancing on Ice) was again breathtaking in the leading role of Odette showing a grace and elegance in her performance, inlcluding a short piece of ballet pointe work (on ice!!). Taking the decision to split the White Swan/Black Swan role to two performers works extremely well in this context giving a whole new dynamic to the story. Olena Pyatash gave Odile a great dignity and showed off her award winning skills both on the ice and in the amazing lifts. A particular highlight of the production is the touching pas des trois between both leading ladies above and The Prince, danced by Andrei Penkin. The moment where both ladies are lifted from the ice (see picture above from previous production) is the combination of skill and storytelling at its best.

Vadim Yarkov provides the sinister presence of Count Von Rothbart with speed and agility that gives the fight sequence between himself and The Prince a real sense of danger. Ruslan Novoseltsev provides a lot of the humour as the Prince’s aide, Benno. His rapport with the audience and his spectacular tricks made him a stand out – something which must be difficult in a cast of this calibre.

The ensemble also provide many of the heartstopping moments too. The spectacular lifts, leaps and throws on a performance space nearly a quarter of the size of the Olympic ice rinks these stars trained on, are genuinely breathtaking. The two stumbles (well it is very slippy out there!) that occurred during this performance only prove that these daring effects are indeed challenging, even for professionals of these standards.

Tony Mercer as Artistic Director and Choreographer has another success on his hands, and I will definitely get my skates on to buy tickets next time The Imperial Ice Stars roll into town.

Performances:

Tue 19 Apr:     7.30pm

Wed 20 Apr:    2.30pm, 7.30pm

Thu 21 Apr:     2.30pm, 7.30pm

Fri 22 Apr:       7.30pm

Sat 23 Apr:      2.30pm, 7.30pm

Box Office: 08448 717 647(bkg fee)   web: www.ambassadortickets.com/glasgow

For the first time ever, comedy legend and the most senile member of Monty Python will be bringing his "An Evening with the Legendary John Cleese” tour to the UK. Best known for his idiosyncratic turns in Monty Python's Flying Circus and Fawlty Towers, John Cleese will bring his unique comedic perspective to Glasgow audiences for three nights only: Mon 6 – Wed 8 June.

Cleese has achieved a lot in his career which started as a sketch writer for BBC Radio’s Dick Emery Show and then The Frost Report. After this stardom beckoned, and Monty Python was created with Cleese co-writing and starring in four series and three films.

He went on to achieve further great success as the neurotic hotel manager Basil Fawlty in Fawlty Towers, which he co-wrote with his then wife Connie Booth. After huge UK success John went on to crack the USA with A Fish Called Wanda (which he wrote and starred in with Jamie Lee Curtis). The late 1990s saw the unstoppable Mr Cleese appear in the James Bond movie The World is not Enough and later Die Another Day. From writing to starring in plays, musicals, theatrical and comedy productions, to films and sitcoms, Cleese has done it all, and now it’s time for him to tell you about his jam-packed life.

Cleese says: "It is an evening of well honed anecdotes, psychoanalytical tit-bits, details of recent surgical procedures, and unprovoked attacks on former colleagues, especially Michael Palin".

Ends/

LISTINGS

An Evening with the legendary John Cleese

Theatre Royal, Glasgow
Mon 6 – Wed 8 June @ 7.30pm

Tickets: £21 - £33.50

Box Office: 08448 717 647 (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)

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