The Gloria Estefan musical plays Glasgow's King's Theatre this week featuring a soundtrack packed with hits.

This show really does tick all the boxes for musical theatre. At its heart is a dramatic story based around the struggles and successes of Gloria and Emilio Estefan. Added to this is an upbeat Latino songbook packed with hits from the 80s and 90s, off-the-charts choreography and a book that weaves comedy seamlessly into the mix.

Tracking the life of Gloria from young girl to the height of her success, the musical follows her migration to the USA from Cuba, her love story with Emilio and her caring relationship with her father who was injured in Vietnam. Gloria's relationship with her mother was more difficult, though, as she disapproved of the music scene and the touring life that her daughter loved so much. Success did not come easily to the couple and so the musical tracks their efforts to hit the big time . before a tragic accident brings the success story to a sudden halt.

Performances were excellent throughout. Francesca Lara Gordon stepped up to the leading role of Gloria Estefan for our Wednesday evening performance - and, boy, did she deliver! This is a massive role with almost as many costume changes as songs. Ms Gordon was likeable and relatable and incredibly talented. George Ioannides, as Emilio, was perfectly cast with superb vocals and great comedic delivery. The supporting cast were all deserving of praise. I can only mention an excellent comic performance from Laura Friederich Tejero as (Grandma) Consuelo, amazing vocals from Elia Lo Tauro as José Fajardo, and a passionate and classy delivery from Madalena Alberto as Gloria Fajardo.

While the production was not innovative, the audience were certainly treated to a great show. Incorporation of the band onstage was welcome and clever use of twin sets of sliders enabled very smooth transitions in this slick production. Choreography from Serjio Trujillo was action packed and authentic featuring high energy Latin routines showing off some fabulous costumes.

Sadly, this deserving cast were not treated to a full house last night . but, on the bright side, that means that tickets are still available! Don't miss this chance to see an amazing show on its first UK tour.


On Your Feet
King's Theatre, Glasgow
Mon 2nd - Sat 7th March 2020
www.atgtickets.com/glasgow (bkg fee)

The Lincoln Centre Theatre breathes new life into this Rodgers and Hammerstein classic running for 2 weeks at Glasgow's King's Theatre.

Let's face it, "The King and I" is getting on a bit. Originally commissioned in 1950, this classic musical has embarked upon a major tour and you can't help but wonder if it travelled free on the bus! So it was with some trepidation that I attended this production having seen the show several times before and even performed in it as an amateur. The risk was that all those fond, rose coloured memories might be blown away by the septuagenarian reality.

I need not have worried. The production values won me over immediately and the quality of the performances proceeded to take this show to whole new heights! Simply stunning.

Let's start at the top ... Annalene Beechey (as Anna Leonowens) was just perfect. Her characterisation was, of course, immediately posh and principled as you might expect upon first meeting the governess to the children of a royal family. But her relationship with her son and later the children and wives of the royal household quickly soften that persona. Vocally, Ms Beechey hit that oh-so-difficult to achieve sweet spot of perfectly trained clarity tempered by an accessible quality ... certainly not operatic (if that sort of thing puts you off).

Kok-Hwa Lie (as the King of Siam) was wonderfully engaging. His energy was infectious and his sense of fun was there for all to see. The character strikes an almost fearful respect in all of his subjects and yet he retained a child-like inquisitive nature making him incredibly likeable.

Together Anna and the King were ... "something wonderful". The story takes time to develop their relationship. Each argument that they have seems to draw them closer together in mutual respect and, ultimately, love ... but not in the conventional musical sense. The chemistry was magical.

Anna Leonowens was already possibly the strongest female lead character in a musical. This contrasts starkly with the era and stands out as a major theme of the show alongside a fairly blunt anti-racist secondary narrative. Some minor tweaks to the lib have underlined these themes of inequality by highlighting the treatment of women - perhaps to offset some wildly sexist statements from the King and others. This serves to keep the text current and shouldn't upset the musical purists too much.

I'm already stretching the wordcount on this and I haven't mentioned the many other aspects of this show that were great! The supporting cast led by Cezarah Bonner (as Lady Thiang) were very strong. Ms Bonner was a class act in everything she did. The score is, of course, immortal ... but add a harp into the pit and it is elevated to new emotional heights. The simple, solid set was convincing and used to great effect with shimmering light effects transporting us to 19th century Asia. Combined with beautiful costumes and those mesmerising performances you have a show that you can't afford to miss. Don't let this one pass you by!


The King and I
King's Theatre, Glasgow
Tue 28th January - Sat 8th February 2020
www.atgtickets.com/glasgow (bkg fee)

The cast and crew of We Will Rock You served up Rock Musical perfection at Glasgow's Theatre Royal last night. The smash hit Queen and Ben Elton collaboration has received a timely makeover to turn this amazing show up to 11!

The show premiered in 2002 but this new production has had a substantial re-write including new characters and a rich vein of comedy throughout. The show still packs in 25 of the world's best loved rock songs with a musical narrative that is both engaging and laugh-out-loud funny. Set in a future world where musical instruments are banned and the only permitted music is "programmed", the story takes the dumbed down x-factor inspired music era to a logical conclusion where rock has become legend. Enter dreamer Galileo (Ian McIntosh) who 'want's to break free' from this musical oppression and rebellious Scaramouche (Elena Skye) as his 'somebody to love' - you're getting how this works! The thing is, as fantastic as the story is, it all works very well because the show is bound together by some of the greatest songs ever written, and characters are broadened by the keen wit of one Mr. Elton.

From a production standpoint, the show is simply awesome! Music is authentically reproduced being worthy of Queen's legendary live performance reputation. The show is very high tech (this is rarely a good thing on a touring production) but every queue is executed precisely with lighting, sound effects, dialogue, music and video all smoothly synchronized. At times the vivid video presentations cover every surface on-stage and suck the audience into the action. Costumes contrasting in style from The Matrix to Mad Max add significantly to the presentation. Choreography from Director Cornelius Baltus has pinpoint precision with great contrast between the Ga Ga and the Bohemian dancer groups.

But even with all of these production superlatives, the show was still stolen by the performances onstage. Ian McIntosh and Elena Skye were the perfect lead duo. Onstage passion mostly came in the form of wars of words as the two strong characters bounced off each other. But love always finds a way in a musical. Michael McKell as Buddy and comic baddy Adam Strong as Khashoggi brought plenty of laughs. Vocal performances were astonishing throughout, but Amy Di Bartolomeo as Oz really raised hairs on the back of my neck as she sang "Only the Good Die Young".

The screaming Glasgow audience couldn't wait to get on their feet at the end of the show to deliver a well-deserved standing ovation.

People will be rushing 'headlong' for these tickets putting the box office 'under pressure'! Book today ... it's guaranteed to blow your mind.


We Will Rock You
Theatre Royal, Glasgow
Mon 9th December - Sat 28th December 2019
www.atgtickets.com/glasgow (bkg fee)

This may have been my favourite Panto ... ever. There, why beat about the beanstalk? I've just saved you 5 minutes of your life. Buy a ticket. Merry Christmas!

Still here? Okay I'll tell you more.

First, it's spectacular! Eye-popping scenery and costumes are outshone by dazzling lighting, epics sets, a MASSIVE giant ... and a flying machine to take your breath away!

Next, it's entertaining! Just as many jokes for the adults as for the kids and they hit that perfect rhythm so that just before the mirth is lost from one, another comes right along. Performances from the stars (Elaine C. Smith, Johnny Mac and Jonathan Watson) were great and the audience of kids and families raised the roof! I must admit that I laughed loudest when the young audience members were asked to join Johnny onstage - hilarious!

Music from the live band led by James Dunsmore was lively, upbeat and had broad appeal. The 8 strong troop of dancers were energetic and talented and were rewarded with the traditional yet impressive gold-encrusted costumes for the finale!

This is a great family show and well worth the ticket price. Book early to kick start your Christmas feel good season this year.

Jack and the Beanstalk
King's Theatre Glasgow
Sat 30 November - Sun 5 January 2020
www.atgtickets.com/glasgow (bkg fee)

With a catalogue of hits heavier than a 1980s phone book to choose from, the creators of Motown the Musical were surely onto a winner when they decided to write a show covering the first 25 years of this iconic record label. But musical theatre is more than just music and the modern theatregoer has set a high standard for their musical entertainment.

The pedigree of the songbook is irrefutable with hits across the alphabet from The Jacksons' "ABC" to Smokey Robinson's "You've Really Got A Hold On Me" and 60 songs in between from artists such as Diana Ross, The Temptations, The Four Tops, Stevie Wonder and, of course, Marvin Gaye.

The story of the rise and fall of Motown is set against a backdrop of racial unrest in the US across the 60s and 70s with the conclusion of the show set at Motown's 25th anniversary celebrations in 1984. With such powerful inspiration for music of black origin across this era, it is easy to relate these pieces to their time either as protest or escapism. Sadly, the story of the show makes little reference to this rich backdrop; focussing instead on Gordy's passion for his company and his failing relationships with his wife and, later, with Diana Ross.

The presentation of the show is incredibly slick with very smooth scene changes enabled by full height electronic screen sliders moving effortlessly into place with co-ordinated full colour images giving an impressive light show as well as providing practical scenery. Designer, David Korins, did not skimp on the budget! Ethan Popp's smart musical arrangements were another key ingredient as this huge score involved a great deal of mashing and merging.

On stage, Edward Baruwa, presented a likable Berry Gordy but, while there was little mention of the 8 children the man fathered via 6 relationships in this period, Mr Baruwa was a little unconvincing as the womanising CEO. His passion for the company came through in several key moments, though, and his singing voice did not disappoint. Karis Anderson was an ideal choice as Diana Ross. Close your eyes and you could almost be transported in time to hear Diana Ross at her peak. Nathan Lewis and Shak Gabbidon-Williams delivered well in their roles as sidekick, Smokey Robinson, and the inimitable Marvin Gaye.

I'm sorry to say that the whole cast had to dig deep into their reserves of professionalism as the Glasgow audience were incredibly poorly behaved. Sadly the noisy distractions from the audience were alcohol fuelled. The worst audience I have ever had the displeasure to be a part of. The cast are to be lauded for their commitment to their art.

This is a great show with an incredible score. The book is a little one-sided regarding this period of history but the cast will have you gripped from start to finish.

Motown the Musical
King's Theatre Glasgow
Tue 29 October - Sat 16 November 2019
Mon - Sat evenings 7.30pm
Wed & Sat matinees 2.30pm
Tickets £13 to £55
www.atgtickets.com/glasgow (bkg fee)

This rarest of musical beasts returns to The King’s Theatre in Glasgow; the “Punk Rock Opera”
Green Day’s American Idiot.  This truly is a ‘beast’ of a show in every respect; powerful, wild, (at times) ugly but also AWESOME!

Green Day’s 2004 release of the album “American Idiot” saw the modern punk rock band take a new direction.  It wasn't originally intended that the album should convert to stage; more that it emulate a more thoughtfully developed album like the great rock operas ‘Quadrophenia’, ‘Ziggy Stardust and the Spiders from Mars’ or even ‘Sgt. Pepper’.  In creating their Punk Rock Opera they were able to throw away their unwritten “rule book” and approach song writing from a whole new direction – a concept album.  What was written may well have started as a concept, but what emerged on stage was REAL – very real, deep and (sometimes) purposely repellent.  But when the score contains huge hits like “Boulevard of Broken Dreams”, “When September Ends” and the awesome title track, the audience are bound to leave the theatre feeling entertained.

BBC Waterloo Road’s, Tom Milner, leads the cast as Johnny (or Jesus of Suburbia) on a
year-long journey against the backdrop of reality for the lower middle classes of America following the 9/11 terror attacks.  Johnny’s experience forms the basis of social comment on a nation which was fighting a culture war to determine its own morality while desperately trying to put a face on faceless enemies overseas.  Milner’s voice is a weapon of mass destruction – perfect in this role.

Johnny is joined by two competing characters.  “Whatshername” (beautifully voiced by X-factor’s Sam Lavery) represents ‘love’ while “St. Jimmy” (played with suitably manic fervour by Luke Friend) represents ‘rage’ – Johnny’s inner demon.  Both characters are a massive influence on Johnny’s actions and lead to a dramatic downward spiral.

The supporting cast are small but fantastically talented.  Each gets a chance to shine in this
dark dystopian reality.  The band clearly play a strong role on stage and Samuel Pope (as Johnny’s mate, Will) plays a double role as guitar #2 – typical
of this multi-talented cast he sings, dances, acts and play’s some serious licks!

The choreography from Director / Choreographer, Racky Plews, is also a major player in the show
as the story unfolds almost like a ballet.  Being a rock musical, Billy Joe Armstrong’s lyrics can sometimes be overtaken by drums and guitar, so the
choreography often plays a key role in outlining the lyrical intent.  The exciting, contemporary (and often comedic) movement is delivered with verve by the energetic cast.
I highly recommend you see this show!  It’s not for the faint hearted – it’s deep, dark, thought provoking, lyrically colourful (they swear a lot) and sexually
provocative … but this serves to deliver Green Day’s original message in a powerful format that is the perfect fit for your first ever Punk Rock Opera!

Green Day’s American Idiot
King’s Theatre Glasgow
Tue 28 May – Sat 1 June 2019
Tue, Wed, Thu evenings 7.30pm
Fri 5pm and 8.30pm
Sat 4pm and 8pm
Tickets from £17.90, Age
guidance 14+

Box Office 0207 2061179
(bkg fee) 
www.atgtickets.com/glasgow (bkg fee)

Strap on your thigh highs, Glasgow!  Kinky boots are strutting into town for two weeks!

Kinky Boots is one of those musicals that grabs you from the first note and doesn’t let go until the band take their well-deserved final applause!  It has all the elements that you would associate with a well presented musical … but somehow manages to break some rules and spring a few surprises. There is a nice score, some uplifting chorus numbers, a funny script and a very strong story.  But the love story is unconventional, the first act does NOT end on a cliffhanger and the leading lady is a man!

Loosely based on real life events, the story centers around Charlie (Joel Harper-Jackson); the reluctant heir to a Northampton shoe factory.  Following his father’s death, it becomes clear that the factory’s long history could end in swift financial ruin.  While searching for a solution that will save the livelihoods of a generation of friends and family, he finds inspiration in the unlikely form of Lola (Kayi Ushe); the outrageously talented lead singer in a high kicking drag act.  Together they form a partnership that influences the perceptions and actions of everyone around them.

The stage is dressed in a wonderfully atmospheric set from David Rockwell. The split level factory is swiftly rearranged to accommodate production and dance moves with ease.  Portions of the set are then seamlessly transformed into partial backdrops and props for scenes in London and beyond.  Lighting is a strong contributor to that atmosphere and the audience is transported to a dusty factory floor in Northampton in a blink.

The original score and Lyrics from Cyndi Lauper really drive the story forward and provide character expansion opportunities as we come to understand how Lola and Charlie became the men they are today. Ticket holders expecting a brace of 80s punk-pop hits will be disappointed – this is a good musical score.  Direction by Jerry Mitchell was pacy and exciting with some inspired comic timing.  Mr Mitchell’s choreography leaves the audience gaping as the cast run, flip and dance over and around the factory production line – a real show highlight.

Performances onstage were exceptional.  Joel Harper-Jackson gave a sympathetic and finely balanced performance as Charlie Price.  We watched as this reluctant heir grew to love his father’s factory and eventually become obsessed with it.  Powerful and moving scenes developed as that passion bubbled over and these were matched only by his incredible vocal performance. As Lola, Kayi Ushe was an irresistible force.  Effervescent in personality and yet vulnerable in many ways, Lola won the audience over in seconds and that star performance held us mesmerized throughout the show.  Lola had us in stitches of laughter at one moment and close to tears the next.

If you ever think to yourself that “all musicals are the same” – treat yourself to a sexy pair of red Kinky boots and challenge those perceptions!  Don’t miss this fabulous show.

KING’S THEATRE , GLASGOW
Tue 7 – Sat 19 May 2019 
Mon – Thu & Sat eves
7.30pm
Fridays 5pm & 8.30pm
Sat mats 2.30pm
Tickets: £19.50 - £66.00
www.ambassadortickets.com/glasgow  (bkg fee)

Rock of Ages rolled into Glasgow this week and blew the roof off of the King's Theatre.



The jukebox musical has been a staple of live entertainment for decades. Elvis made movies in this format back in the 50s and live audiences have enjoyed fresh presentations of their favourite hits since Buddy and Return to the Forbidden Planet mastered the genre 30 years ago. But never in the history of the jukebox musical have a cast, writer and audience had so much FUN!



The story is broadly predictable while the presentation and dialogue will have you rolling in the aisles! Sherrie (Jodie Steele) is a small town girl who travels to LA for fame and fortune. Drew (Luke Walsh) is a city boy trying to turn his bar job at the Bourbon Club on the Strip into a rock career. There is instant chemistry but Drew gets caught in the "friend zone". Meanwhile, corporate big wigs (other wigs feature heavily in this 80s themed storyline) with German accents have dastardly plans to turn LA's famous Strip into a shopping mall. The club recruits rock god, Stacee Jaxx (Kevin Clifton), to perform and save the Strip. But Stacee is a famous womaniser and (you guessed it) Sherrie catches his ever roaming eye ...



The setting provides the perfect excuse to cram in more 80s rock classics than you could shake a stratocaster at! Classic hits from Foreigner, Starship, Bon Jovi, Journey, Europe, Whitesnake and more are rocked out and mashed up at a rate of knots! The 80s provides a rich vein of musical gold to be mined and this production digs up every last nugget. But it is the comedic approach to the entire show which really lifts this musical way above the plethora of competition. The dialogue from Chris D'Arienzo has the tongue so firmly in the cheek that what might have been cheezy becomes hilarious. Direction and Choreography from Nick Winston gives the cast plenty of freedom to have as much risqué fun as they dare! The choreography is outstanding and the physicality from the talented cast is delightfully OTT. If there was an Olivier for Comedy Choreography it would certainly be awarded to Mr Winston!



The plaudits continue when it comes to performances from this outstanding cast. Luke Walsh was a likeable and able lead. Jodie Steele delivered vocals which ranged from powerful rock chic to soulful ballad mistress – remarkable from such a slight frame. But these two great performances had to compete with some OUTLANDISH characters for the affections of the audience; not least from Lucas Rush as Lonny who had the audience in stiches with a high energy camp performance combined with Bobby Ball (in a long wig) looks! Kevin Clifton impressed with rock vocals as Stacee Jaxx - self centred and narcisistic but perhaps a little too clean cut for the role. Zoe Birkett wowed us with her soulful songstress delivery as Justice. Bobby Windebank wins my “Ensemble Who Draws The Eye” award for his excellent dance moves and comic characters!



This is a fantastic show. Funny, nostalgic, naughty and melt your face rockin' in equal measure! If you “wanna know what love is” … get yourself along to the King’s Theatre.





KING’S THEATRE , GLASGOW

Wed 23 – Sat 26 January 2019

Wed - Sat eves 7.30pm

Sat mats 2.30pm

Tickets: £15 - £59

www.ambassadortickets.com/glasgow (bkg fee)

Alexandra Burke leads a fabulous cast in this explosive production at The King’s Theatre, Glasgow!

Let’s be honest, musicals based on movies don’t have the best reputation on the UK touring circuit. But, when that movie was the Hollywood debut of pop superstar, Whitney Houston, and it is packed with her greatest hits, there is certainly enough to pique the interest of even the hardest cynic.

For those who have not experienced the 1992 movie … The Bodyguard tells the story of Rachel Marron, a pop diva making her big break into movies (sound familiar?). Rachel is being threatened by a mysterious assassin and those who care for her hire a new bodyguard. Frank Farmer is a professional and makes changes that most of Ms Marron’s entourage dislike and that Ms Marron herself detests. However, when Farmer is proved correct in his assessment of the danger, Ms Marron comes to appreciate him more. But mixing business with pleasure does not sit well with the bodyguard. Has he put his client in danger?

Step forward Ms Alexandra Burke! Alexandra doesn’t just “do” Whitney Houston … she is Whitney Houston for a new generation. She has the power and, more importantly, the vocal finesse to deliver the full range of this amazing back catalogue of hits from the 80s and 90s. Ms Burke went one stage further by generating a believable onstage chemistry with co-star Benoît Maréchal as bodyguard, Frank Farmer. M. Maréchal developed his character wonderfully from aloof professional among amateurs to caring lover. All this time he impressed with an incredibly cool persona aided in no small part by the hint of a French lilt in his accent. His comic timing was sublime, too. In fact, both lead characters somehow manage to remain very likable despite their words and actions – very impressive. Micha Richardson was delightful as downtrodden sister, Nicki.

Director, Thea Sharrock, delivered a pacey production without the tedious dramatic pauses evident in the original West-End show. The result was a lighter, more entertaining performance where the audience could appreciate the comedy sprinkled throughout the book by Alexander Dinelaris and delivered well by the supporting cast. This show was an FX masterclass with real heat from flamethrowers felt on faces throughout the sizable auditorium of the Theatre Royal. Laser and light shows combined with breath-taking smoke effects and wonderfully cinematic wipe scene changes from Set Designer, Tim Hatley. The set also delivered wonderful perspective effects giving the illusion of great depth; particularly in the mansion scenes. The score features not only the best hits from the movie but the very best of the Whitney Houston catalogue prior to the movie too including “Queen of the Night”, “One Moment in Time”, “Greatest Love of All”, “I Wanna Dance with Somebody” and “I Will Always Love You”.

All in all, this is a breath-taking production which is well worth the ticket price.

THE BODYGUARD
3 – 29 December 2018
Mon - Sat 7.30pm
Thu & Sat 2.30pm
Tickets: £17.50 - £72.00
https://www.atgtickets.com (bkg fee)

Here is the weather forecast for the Glasgow area this week … the temperature will be noticeably higher as the cast of Summer Holiday, The Musical are in town! The energy being burned on stage at The King’s Theatre is enough to raise spirits, heart rate and even the temperature!

My opening paragraph is only slightly flippant. The energy levels on stage are something that must be seen to be believed on a cold Glasgow evening. And that energy is infectious as the whole audience starts movin’ and a-groovin’ with the cast. There is no ‘sunnier’ musical than Summer Holiday. It’s all good clean fun with a warm fuzzy storyline, glowing characters and a smoking hot soundtrack. Even the ‘baddie’ doubles as the comedy act.

The story is based on the famous 1963 movie starring Cliff Richard and is packed with Cliff’s hits from the era. Four London bus mechanics decide to take a break from the rain to tour Europe in a refurbished Routemaster bus. On the way, they rescue a three part female vocal group from a fate worse than the RAC and decide to whisk them off to their gig in Athens. They are joined by a beautiful runaway singing star who disguises herself as a boy to remain incognito. So … 4 boys, 4 girls and sunshine from horizon to horizon … you can guess the rest.

The score bulges with hit after hit and the libretto provides a smooth and witty segway between the songs. Songs include “Batchelor Boy”, “The Young Ones”, “Living Doll”, “Do You Wanna Dance?” and many more (including the irrepressible “Summer Holiday”).

Choreography from Director / Choreographer Racky Plews was superb and brilliantly executed by this energetic cast. Often balletic in style it brought a beautiful flow to the action on stage. Co-ordination and synchronisation among the cast was nothing short of superb. Sharp and athletic execution was often called for and always delivered to great effect – not least by the show’s star turn, Ray Quinn.

And, for me, it’s Ray Quinn (as Don) that takes this touring cast to an even higher level. Far from being a token ‘draw’ for ticket sales, Ray Quinn holds his own with this talented cast and blew me away with a combination of quality vocals and strenuous dance moves at the same time! Quality, Control, Stamina – a real triple threat! Ray was ably supported throughout. In particular by love interest, Sophie Matthew (as sweet and likeable Barbara) and his trio of chums played by Billy Roberts, Joe Goldie and Rory McGuire (delivering very distinct and entertaining characters). Becky Bassett (as Stella) had good material to work with but played too many jokes to the audience for my taste. Wayne Smith (as Stella’s hapless sidekick, Jerry) was wonderfully comical.

This show is really not to be missed. It’ll bring a much desired warm glow to a cold autumnal evening. From the outset, it’s a real Foot Tapper.

Summer Holiday – King’s Theatre, Glasgow
30/10/18 – 03/11/18
Matinees Wed & Sat 14:30
Evenings Tue to Sat 19:30
Box Office: 0844 871 7648 (bkg. fee) www.atgtickets.com
Tickets: £13 - £48.50

Kevin Clifton will join the cast of the award-winning smash-hit musical ROCK OF AGES in the role of Stacee Jaxx.



Kevin Clifton is an international Ballroom and Latin dancer and has won numerous titles across the world, including winning the Britain Latin Championships four times. He is best known as a Pro Dancer on BBC one’s, Strictly Come Dancing and is the only pro dancer to ever dance in four consecutive finals. Kevin made his musical theatre debut in ‘Dirty Dancing the Musical’ at the Aldwych Theatre in London’s West End. Kevin then went on to become a principle dancer in Burn The Floor Dance Company and performed in the show’s record breaking Broadway run, in London’s West End and across the world. Kevin has also toured nationwide with Karen Clifton in 2017 and 2018 in their theatre show, Kevin and Karen Dance.



Kevin will be joined by Kevin Kennedy who will play Denni, Zoe Birkett as Justice, Luke Walsh as Drew, Lucas Rush as Lonny, Jodie Steele as Sherrie, Andrew Carthy as Franz, Vas Constanti as Hertz and Rhiannon Chesterman as Regina.



Also joining the cast are Erin Bell, Alexander Day, Joshua Dever, Paris Green, Sinead Kenny, Ryan Lee-Seager, Adam Strong, Saran Webb and Bobby Windebank.



ROCK OF AGES is an LA love story lavished with over 25 classic rock anthems. Lose yourself in a city and a time where the dreams are as big as the hair, and yes, they can come true!



This hilarious musical comedy features the songs, including We Built This City, The Final Countdown, Here I Go Again, Can’t Fight this Feeling and I Want To Know What Love Is, played loud and proud by an awesome live band.



WARNING: CONTAINS SERIOUS ROCK ‘N’ ROLL DEBAUCHERY!



Now a global smash with extensive runs in London’s West End, on Broadway and in Las Vegas, the show has also been made in to a star-studded Hollywood movie.



ROCK OF AGES has a book by Chris D’Arienzo and Arrangements and Orchestrations by Ethan Popp. It is directed and choreographed by Nick Winston (The Royal Variety Performance, Annie and The Wedding Singer) designed by Morgan Large (The Woman in White, Top Hat, and The Christmasaurus) and has lighting design by Ben Cracknell (Young Frankenstein, Sunset Boulevard and Annie). Sound design is by Ben Harrison (Hairspray, Chitty Chitty Bang Bang and Million Dollar Quartet) and musical supervision is by Barney Ashworth (Sunny Afternoon, Grease and Mrs Henderson Presents).




Rock of Ages

King’s Theatre, Glasgow
Tue 22 - Sat 26 Jan 2019
Mon-Sat, 7.30pm
Wed & Sat, 2.30pm

www.atgtickets.com/glasgow
0844 871 7648* calls cost up to 7p per minute plus your phone company’s access charge

THEATRE ROYAL, GLASGOW

MONDAY 4 - SATURDAY 9 FEBRUARY 2019


Jodie Prenger leads the cast in Abigail’s Party, Mike Leigh’s groundbreaking comedy classic which wreaks havoc at Theatre Royal, Glasgow, from Monday 4 - Saturday 9 February as part of a UK tour.



The story set is in 1970s suburbia and its heavy mix of free-flowing cocktails, classic disco and cheese and pineapple sticks. Beverly and husband Laurence who are throwing a party for their newlywed neighbours, Tony and Angela. Joining them is highly strung Susan who’s been banished from the party of her teenage daughter, Abigail. As tensions rise and tempers flare, the sheen of respectability is torn away by the warring couples with hilarious and potentially disastrous consequences.



Mike Leigh’s iconic Abigail’s Party is one of Britain’s most celebrated comedies and was described by The Guardian as ‘One of the greatest plays about the human condition ever written.’



Jodie Prenger said: ‘Abigail’s Party is a true British classic and a real bucket list part for me. I’m thrilled to be involved in something so wonderful. Can’t wait to get started.’



Jodie landed the role of Nancy in Cameron Mackintosh's revival production of Oliver! at the Theatre Royal, Drury Lane after winning BBC 1's I'd Do Anything. She won the 2010 Whatsonstage Theatregoer’s Choice Award for Best Supporting Actress in a Musical. She then went on to play The Lady of The Lake in the Spamalot UK tour and in the West End at the Playhouse Theatre, and Dolly in the National Theatre's production of One Man Two Guvnors at the Theatre Royal Haymarket. 2015 saw Jodie star in the title role of Calamity Jane on the UK No. 1 Tour followed by a Christmas run of Annie at the New Theatre, Oxford in the role of Miss Hannigan. In 2016, Jodie starred in a new UK tour of Andrew Lloyd Webber’s one woman show Tell Me On A Sunday and in the autumn, Jodie reprised the role of Madame Thenardier in a special production of Les Miserables in Dubai Opera Theatre.



Jodie has guest presented for Elaine Paige and Paul O’Grady on many occasions with BBC Radio 2. Other BBC Radio 2 appearances include Wogan, co-hosting Going Out With Alan Carr, Chris Evans’ Breakfast Show, The Olivier Awards 2010 and Children in Need 2009 with Graham Norton.



Recently, Jodie starred in the one-woman UK tour of Shirley Valentine, and has just finished playing the role of Kelly in the production of Kay Mellor’s Fat Friends on its UK Tour with music written by Nick Lloyd Webber.



Abigail’s Party is a a co-production between ATG Productions and Smith and Brant Theatricals by arrangement with Theatre Royal Bath, directed by Sarah Esdaile.



LISTINGS

Abigail’s Party
Theatre Royal, Glasgow
Mon 4 - Sat 9 Feb 2019
Mon-Sat: 7.30pm
Thu & Sat: 2.30pm

www.atgtickets.com/glasgow
0844 871 7647* calls cost up to 7 p per minute plus your phone company’s access charge