www.list.co.uk/theatre Theatre
www.list.co.uk/theatre
L L E B P M A C D R A H C R
I
L L E B P M A C D R A H C R
I
: O T O H P
CINDERELLA Citizens Theatre, Glasgow, until Sat 2 Jan ●●●●●
From the sumptuous decoration around the foyer (yes, they’ve even painted the pink elephants silver — don’t worry, it’s only temporary) to the gorgeous, delicate Baroque set, the Citz’ first original commissioned Christmas production in years announces itself as thoroughly classy festive entertainment. There’s not the tiniest trace of Buttons nor a whisper of Disneyfication about it – playwright Alan McHugh has gone back to the original Grimm Brothers’ story of grief and longing. It’s her dead mother’s ghost, rather than the sanitised fairy godmother of
modern versions, who sends Cinders off to the ball, and the ugly sisters do, indeed, cut their toes off in order to squeeze into that slipper. However, it’s all managed in a family-friendly way and really does feel like a live fairytale, with grace, real emotional weight and a properly heartwarming resolution, even if the music can be slightly treacly. The broad comic strokes and primary-coloured finery of the ugly sisters, and some brilliantly original audience participation lighten the mood; Cara Kelly’s very wicked stepmother is a blackly comic treat and Andrew Scott-Ramsay’s handsome prince really gets the audience swooning. (Kirstin Innes)
latest Christmas offering is standing room only. Yet this deceptively traditional affair (Gray does indeed spend the entire show in drag) hides a more subversively adult sense of humour. Indeed, co-writers Anderson and David MacLennan are showing their roots as part of political theatre company 7:84 by giving Juliet Cadzow a recurring role as Margaret Thatcher (‘the wicked witch of the south’) while Gray gets a chance to show off his impeccable Gordon Brown impression.
The emphasis, however, is placed on replicating the slapstick fun of Gray’s usual panto haunts. Several gags offer unflattering comparison to King’s Theatre budgets, and there are silly costumes, audience interactions and singalongs aplenty. Occasional stiff language and the fact the entire room ends up denouncing bankers in song might suggest a more adult- orientated production, but liberal parents won’t find much to fear from such an anarchically enjoyable show. (David Pollock)
: O T O H P
LITTLE RED RIDING HOOD The Arches, Glasgow, until Sun 3 Jan ●●●●●
It’s perhaps understandable, given the venue, that this version of the classic fairy tale comes across as a very Glasgow indie Christmas show. Alasdair Macrae, Mary Gapinski and Ewan Donald narrate the story in soft Jackanory-style accents, while playing a charming, minimal score on acoustic guitar, whistle and saw. Natalie McConnon, meanwhile, is a decidedly Art School Little Red Riding Hood in red duffel coat and thick tights. This is a sweet tale well told, though, and it does live up to its billing of being suitable for everyone from the very young to the very old. McConnon’s role is a blend of tomboyish feistiness and childlike wonder, and a woodland set populated by puppet animals and Macrae’s strangely polite Wolf is simple but magical.
Director Julie Brown has created a fairy tale world which will appeal to even the most jaded child- accompanying parent, while the sensitive tone of the play is punctuated by some well-worked action set-pieces – not least when the Wolf finally gets his hands on Granny. (David Pollock)
A CHRISTMAS CAROL Oran Mor, Glasgow, until Sat 19 Dec ●●●●● With Scottish panto stalwart Andy Gray and well-kent Oran Mor face Dave Anderson in the cast, it’s little wonder that A Play, a Pie and a Pint’s
YA BEAUTY AND THE BEAST Tron Theatre, Glasgow, until Sun 3 Jan ●●●●●
What’s that? You want a coherent plot? In a Christmas show? Get with the programme, granddad. Ya Beauty and the Beast is panto for the ADHD generation.
There’s a mysterious heatwave, a sombre principal girl who grows a beard and eventually turns into a dog, a camp flower called (yes) Pansy, a Jimmy Krankie tribute puppet, a badly-scripted quest set by the White Witch Gandolfi (first name Cathy), a family of flashing-eyed skeletons, a shark-powered waterski, a love duet by rap, a Tunnocks-sponsored circus, and one of the main characters is a kangaroo. There’s no room for a plot! Amazingly, though, it all works.
The Tron’s pantos have been veering into increasingly self-referential territory, always taking a snide and not altogether good-humoured swing at the other Glasgow theatres’ pantos, and often to the detriment of the entertainment value. This time though, even though they’ve probably got as little a clue as to what on earth is going on as the rest of us, the utterly excellent cast are thoroughly committed to the very serious pursuit of fun, led by Andy Clarke’s brilliant, charismatic saucepot dame Bunty Beautox. (Kirstin Innes)
17 Dec 2009–7 Jan 2010 THE LIST 91