2016

A Year Without Blogging: A Brief Overview

It’s difficult to believe that it’s been over a year since I last published a review. For a very long time an essential part of my theatre experience was rushing home from the darkened theatre and pouring my feelings over my laptop keyboard. University, work and private life intervened and regular theatre-going and the fun of reviewing ebbed from my life.

You may be wondering if I have still attended the theatre during my unofficial hiatus. Of course I have. In an attempt to get my blog up and running again, here is a brief summary of the shows I have seen since my last publication…

The Royal Conservatoire of Scotland’s production of West Side Story was incredibly moving and memorable with its geometrical stage design. Matthew Tomlinson was particularly fantastic as Tony with deliciously smooth vocals. I cannot wait to see what he will get up to after he graduates. The show’s choreography, too, was a delight to watch.

The King’s Speech at the Theatre Royal, Glasgow featured a fantastic sound design and a modern visual staging. Gaining points for the use of a ‘true story,’ the show was engaging and I particularly enjoyed the sections featuring the ever mysterious Wallis Simpson, oozing with glamour and forbidden seduction.

The Lyceum’s Hedda Gabler was a fascinating production. I was simply mesmerised by scene transitions as Hedda’s fantasies came to life before my eyes, her dark thirst for power and domination a startling contrast to the Victorian values of her day. A play that begs to be analysed, Hedda Gabler is dazzling on the page and slightly less captivating on stage. Nevertheless, an interesting and thought provoking production.

Barnum at the King’s Theatre, Glasgow was a riotous circus musical for all the family. The relationship between Barnum and his wife Cherry is heartbreaking to follow in the midst of a show of so much fun. Linzi Hateley shone as the often forgotten yet essential Cherry Barnum, her vocals providing some of the best moments of the evening. Brian Connolly’s tightrope walking is the ultimate nail biter of the show, providing an ‘you could hear a pin drop’ moment to remember. The score is full of fun numbers and the use of reprises really builds on the construction of the relationship between the two leads. Overall a very enjoyable production although I personally would have preferred less audience interaction.

I wrote a full review of Dance Til’ Dawn at the King’s Theatre, Glasgow which can be viewed here (and I liked this one so much that I had to see it twice).

I also wrote a full review of The Straw Chair at the Tron Theatre, Glasgow. It can be read here.

The Woman in Black at the Theatre Royal, Glasgow was brimming with perfectly executed moments of suspense and jump scares. An essential ingredient to the success of The Woman in Black is, of course, the mysterious lady herself who should, at least in my vision of the show, achieve an ethereal creepiness by slowly pacing across the stage, almost gliding towards her victim, graceful yet deadly. Instead, a terrifying moment perfectly built up through levels of suspense and loud noises, was all but ruined by a clumsy and almost comical ghost sprinting across the stage at top speed, her knees up to her chin and her legs flailing everywhere. This error diminished my respect for the thriller aspect of the show. Had the spectre remained chillingly ghost-like and threatening then The Woman in Black would have been a remarkably thrilling and fascinating theatrical experience.

Anything Goes at the King’s Theatre, Glasgow was a bittersweet experience due to the announcement of the UK Tour’s early closure which was made public only days before I sat in the theatre to see the show. However, it didn’t take long after the curtain rose to realise that the early closure was forgivable. It is difficult to pin point what was wrong with the show; there was simply something missing. In a show that demands slick choreography for showstopping numbers, the dance routines seemed basic and repetitive. Zoe Rainey’s vocals, however, redeemed the show from monotony and the set design, too, was very satisfying.

I wrote a full review of Fever Dream: Southside here and this one was a cracker.

The War Hasn’t Started Yet, part of the Oran Mor’s Play, Pie and a Pint series, was a political piece filled with Brechtian techniques and comical sketches that explored society’s fears and insecurities. The three performers flitted from sketch to sketch with remarkable ease, contrasting characters being brought to life and fleshed out in seconds. Anita Vettesse was particularly memorable as the abused wife in the latter half of the show. This production was something quite different from anything I’ve seen before and it was an enjoyable, intriguing experience.

The Songbook of Judy Garland at the Theatre Royal, Glasgow was a delightful showcase of Garland’s career, her signature songs revisited by a string of West End performers. Most enjoyable were the scenes featuring the fantastic Louise Dearman and of course it was a delight to witness Garland’s eldest daughter, Lorna Luft, pay tribute to her late mother. The finale was, appropriately, an emotional group performance of Somewhere Over the Rainbow, sending the audience drifting into the streets to remember the golden days of Hollywood and the troubled career of one of its greatest stars.

I’ve already written a review of my beloved Top Hat which I revisited (again) at the Sunderland Empire. You can read it here.

Swallow at the Traverse Theatre, Edinburgh was produced in conjunction with the Edinburgh Fringe Festival and was very well received by all who attended. A quirky script with hidden depth, Swallow was equally comic and tragic, exploring the desire to survive. The ever fantastic Anita Vettesse delivered an incredible performance as the troubled Rebecca and Emily Watcher, too, was shatteringly brilliant, the physicality of her performance was remarkable to watch. A well written play that somewhat let itself down with a cliche ending, I purchased the script for this show and cannot wait to read it at some point.

Agatha Christie’s And Then There Were None will always be one of my favourite plays. The production that visited the King’s Theatre, Glasgow featured a gorgeous set design and a fantastic execution of Christie’s twisted tale. To my delight, this production revived the original denouement, producing plenty of audible gasps from the audience. Always a chilling and captivating show, it is one that I would revisit again and again.

An Inspector Calls at the Theatre Royal, Glasgow proved to be one of the best shows I have seen. Heavily focusing on the construction of family, society, and public appearance, the set design embodied the show’s attack on capitalism and the destruction of the upper class through the slow disintegration and collapse of the dollhouse-like home of the Birlings that dominates the set. A show that begs to be analysed, I loved getting my teeth into this J.B. Priestley plot.

The UK Tour of Rebecca was an interesting adaptation of the Daphne Du Maurier classic. Somewhat modernised and featuring an unusual score and puppet dog (!), one of my favourite novels was brought to the stage in a unique, quirky vision. Not my favourite adaption, this production still managed to capture the tension between the newlyweds and the deceased Rebecca in the midst of an absurd mix of dancing, puppetry and floating boats.

White Christmas at the Pitlochry Festival Theatre was the perfect Christmas treat. Martine McMenemey and Jamie Noar were stand outs amongst an incredibly strong cast in this faultless production that made me incredibly proud of the Scottish theatre scene. This was my first Pitlochry production and it certainly will not be my last.

As a fan of Tom Chambers, Private Lives at the Theatre Royal, Glasgow was a must see. This production was delivered with all the speed and humour of a typical Noel Coward play, overflowing with clever quips and quickfire bickering. Hugely enjoyable, this was a fantastic adaption of the Coward classic I adore.

Evita at the Barrfield Theatre, Largs was a surprisingly slick and innovative adaption of the Andrew Lloyd Webber musical. This amateur production featured a superb range of moving performances and it was a delight to hear my favourite score performed live once more. Perhaps the best On This Night of a Thousand Stars that I have ever heard and a heartbreaking finale as Peron collapses in emotional exhaustion over his wife’s coffin. A strong musical and a very strong production.

This Restless House was a Greek tragedy trilogy at the Citizen’s Theatre, Glasgow featuring haunting musical interludes that are still circling my brain. Pauline Knowles was incredible as Clytemnestra in Zinnie Harris’ modern take on The Oresteia.

Mary Poppins at the Festival Theatre in Edinburgh was one of the most spectacular performances I have ever seen. Elaborate set and costume designs complimented the many showstoppers which continued to build in size and theatricality, making this show a thrill to watch. Zizi Strallen was ‘practically perfect’ as the titular role whilst Rebecca Lock provided stunning vocals as the struggling Mrs Banks.

Annie at the Edinburgh Playhouse gave a powerful punch with a strong young ensemble of orphans. A glorious design a la Matilda, Annie was a delight to watch and was aided by the appearance of Scottish favourite Elaine C Smith as the nasty Miss Hannigan. A tale of hope and determination, this spontaneous theatre trip proved to be one of my favourites over the past few months and one I wish I could relive again.

And so we are now up to date with all of my theatre-going. Admittedly, it has been several months since I last set foot in a theatre and I miss it terribly. Many UK tours are making their way to Glasgow over the next few months and I look forward to actively attending shows and getting back into the swing of reviewing the shows I love and hate.