Camp cabin crew, a Constant Wife, a cold spy, a brace of drag queens and a Blue Peter legend are all queuing up for their moment in the spotlight on an Edinburgh stage in April.
After a period of limited choice due to Matilda and One Day monopolising the stages of The Playhouse and Royal Lyceum, April finds a varied bill of fare lining up for their week in the city. Nowhere boasts a more eclectic programme than the Festival Theatre with no fewer than four productions that are sure to have tickets flying out the box office, one of which has been more than three decades in the making.
Oh, dearie me! Say the names Alan Cumming, Forbes Masson, Siobhan Redmond and Patrick Ryecart to a generation of sitcom fans and the chances are their faces will light up. BBC comedy The High Life, which followed the antics of the crew of fictional Scottish airline Air Scotia may have run for just six episodes but it left a lasting impression. So much so that thirty-odd years later Sebastian Flight, Steve McCracken, Shona Spurtle and Cpt Hilary Duff are back in service again, fighting to save their jobs in The High Life The Musical: Still Living It (7-11 April).
Air Scotia has been sold, and unless the intrepid cabin crew can prove they’re still fit for purpose it looks like the next destination for Air Scotia is the scrap heap. Can the cut-price cabin crew get themselves and their passengers safely to their destination to save the day and Air Scotia? The other big question is, will you be able to resist singing along to the theme tune? Altogether now, ‘We’re living the high life, we’re living it well…”
Running time 2 hours 15 minutes, including interval, tickets here.
The return of Sebastian, Steve and company is sandwiched between another two quality productions touring to the Festival Theatre. The week before heralds a visit from the RSC, the week after, the return of Matthew Bourne’s New Adventures dance theatre company.
The Royal Shakespeare Company brings The Constant Wife (31 March-4 April), starring Kara Tointon, to the Capital ahead of its run on London’s West End.
The story of a woman determined to do things her own way, it’s 1927 and Constance is very unhappy. The perfect wife and mother, her husband is as devoted to her as he is to his mistress, who just happens to be her best friend… Adapted by Olivier Award-winner Laura Wade from Somerset Maugham’s glittering comedy, and directed by Tamara Harvey, the production features original music by jazz artist Jamie Cullum.
Running time 2 hours 30 minutes including interval, tickets here.
Matthew Bourne’s magical double Olivier Award-winning The Red Shoes (14-18 April), based on the legendary Powell and Pressburger film, which in turn was inspired by Hans Christian Andersen’s fairytale, is next to stop off at the Nicolson Street theatre. A powerful tale of obsession, possession and one girl’s dream to be the greatest dancer in the world, it follows Victoria Page whose ambitions lead her into a fierce struggle between the two men who inspire her passion. Set to a score orchestrated by the brilliant Terry Davies, featuring the mesmerizing music of golden-age Hollywood composer Bernard Herrmann, I saw this production recently when it visited Glasgow. It’s magical. You can read my review on MustSeeTheatre.com.
Running time 1 hour 55 minutes including interval, tickets here.
And that’s not all, The Spy Who Came in from the Cold (21-25 April) brings Death In Paradise and Royle Family favourite Ralf Little to town as disillusioned British intelligence officer Alec Leamas as, for the first time ever, a novel by John le Carré is brought to life on stage.
Penned by the undisputed master of the modern spy genre, The Spy Who Came in from the Cold was the espionage novel that changed everything. Based on the worldwide bestseller the piece is a riveting journey through the fog-shrouded terrain of Cold War deception and moral compromise. Leamas is weary, hardened, and ready to come in from the cold. But when Control presents him with a final dangerous, deceptive, and deeply personal mission, he agrees to stay in the game. Dispatched into enemy territory, his convictions are tested and his defences breached by Liz Gold, a quietly defiant librarian whose compassion threatens to thaw his frostbitten heart. But what of veteran spymaster George Smiley? What is his role in the operation? What indeed?
Running time 2 hours and 10 minutes, tickets here.
Across town, a now familiar bus rolls into The Playhouse in a brand new production of Priscilla Queen Of The Desert(14 Apr-18 April). Based on the Oscar-winning film, this brand new 30th anniversary production has already created a sensational buzz. The story of three friends – Tick, Felicia and Adam – on a road trip across the Australian Outback to star in the show of a lifetime, Priscilla Queen Of The Desert is a joyous celebration of unity, love, and being your authentic self.
Directed by Ian Talbot, with jaw-dropping choreography by Olivier Award-winner Matt Cole, this musical extravaganza (in the truest sense of the word) is packed with iconic anthems including, Hot Stuff, It’s Raining Men, I Will Survive and many more – I’ve Never Been To Me, one of my own favourites, is in the mix too,
Starring Fascinating Aïda’s Adèle Anderson as Bernadette, Kevin Clifton as Tick, Nick Hayes as Adam, and Blue Peter legend Peter Duncan as Bob, this production promises to be bolder and better than ever. So get ready to be fierce and fabulous. Oh, and if, like me, you love the chance to see an understudy get a chance to shine, take note, the role of Bernadette will not be played by Adèle Anderson at the Wednesday matinee.
Starring Fascinating Aïda’s Adèle Anderson as Bernadette, Kevin Clifton as Tick, Nick Hayes as Adam, and Blue Peter legend Peter Duncan as Bob, this production promises to be bolder and better than ever. So get ready to be fierce and fabulous. Oh, and if, like me, you love the chance to see an understudy get a chance to shine, take note, the role of Bernadette will not be played by Adèle Anderson at the Wednesday matinee.
Running time 2 hours 25 minutes including interval, tickets here.
Last one for April in Edinburgh is at The Traverse, where they present the World Premiere of Gush (10-25 April), by Jess Brodie. After a lifetime of putting others first, a woman on the brink of motherhood takes her destiny into her own hands. Ally’s ready to be a mum. She’s done the antenatal classes, cleaned up her diet, and even given up her beloved tea to avoid the caffeine. So why does something inside her still feel off? In the final days of pregnancy, Ally is determined to take control of her life while it’s still hers. As she steps into the unknown, she’s forced to confront who she is, and what she might lose, or find, when the baby arrives. Exploring self-identity, sexuality and the tension between compromise and sacrifice, Gush is directed by Becky Hope-Palmer.
Running time 1 hour, tickets here.
Finally this month, if you’re thinking of a London Theatre break, there’s still time to, well, not so much see as be a part of Punchdrunk Theatre’s groundbreaking immersive production, Lander 23 (until 10 May), at One Cartridge Place, SE18 6ZR.
The story: The Lander Division of the Centre for Astrobiology is responsible for exploring the outer realms of the galaxy. No division goes further or deeper into the unknown. Tasked with discovering unchartered territories, exploring the outermost reaches and bringing back valuable data to the mothership. A week ago, the crew of Lander 23 vanished while harvesting a new and valuable energy source. A distress signal then silence. You are the next crew in. Your mission is clear, continue their work, collect radiance, survive the unknown. Time is not on your side. The environment is treacherous. There are hidden dangers lurking in the shadows. Do not deviate from the mission.
A unique blend of immersive theatre and live-action gaming, Lander 23 is played in teams of four (two Drivers and two Fields – each player will have the chance to play as both a Driver and a Field). As the Fields navigate the alien landscape, players rely solely on the voice and guidance of the Drivers, stationed aboard the ship. There are no spectators. Everyone plays. Teamwork and communication are key.
Running time 1 hour 30 minutes including briefing, onboarding and the game, tickets here.
Until next time, happy theatre going and remember, you can keep up with my own theatre journey on MustSeeTheatre.com Do give it a visit.
Bests Liam
