Football, The Kinks, cakes, ghosts, the Freshwater Five and theatre on the small screen, there’s a varied choice in Edinburgh’s theatres this month… or will you opt for theatre in your front room?
‘Lesley Manville: Audiences Taking photos during curtain calls is insulting…’ - It is headlines like this that makes me despair of some actors. She obviously needs a good PR. If that really is what Manville belieres, it sums up all you need to know about the inexplicable entitlement some actors display, who pay no heed to the advice not to bite the hand that feeds.
I can hear many of you disagreeing already, but bear with me, I do get where you’re coming from, but the reality is that the evolution of theatre etiquette is ongoing. Back in Shakespeare’s day you could buy oranges to throw at the actors you didn’t like – imagine that now.
The changing attitudes of theatre-goers are driven by many things, not least the influence of venue managements – not that long ago you would have never thought of ordering drinks directly to your seat. Any social contract that may once have existed between audience and performer has long since been ‘rewritten’ and rightly so. Filming walk-downs is all part of that evolution, openly encouraged by many producers – the images might be shonky but when shared on social media, their promotional value is priceless.
The survival of theatre relies on attracting new and younger audiences. That audience doesn’t come with the deference of their forebears – after all, in their world, anyone can be a star, they just need enough followers or a slot on Britain’s Got Talent.
Ironically, the big change in audience behaviour came when producers courted TV audiences through reality shows such as Any Dream Will Do? These star searches gave a whole new telly audience a sense of ownership of live theatre productions. Engaging them and reinforcing the message that theatre is for everyone not just a middle-class elite , although with ticket prices as they currently are, the exclusion of some sections of society is still to be fully addressed.
While these ‘search for a star’ shows are clever marketing ploys, they come at a cost – again, ironically, they’re not that new when you consider how many of today’s ‘National Treasures’ were discovered on programmes like Opportunity Knocks and New Faces.
But back to the curtain call. Applause, standing ovations – which are given for anything and everything these days – and the filming of walk downs are all part a new social contract between audiences, producers, venues and, by default, the actors they hire. In defence of those who do film curtain calls, I’d offer this, making a digital memory of the walk-down is just like having a selfie with your favourite star, a way of showing appreciation, so take the compliment and be pleased that your performance moved people to want to do that. To think such behaviour is insulting is one thing, to voice it and publicly denigrate people who have sometimes paid inflated prices to help keep you in work is to display some of entitlement. Time to get used to it.
Talking of fans, I hear there was almost as much drama off stage as on stage at the Lyceum during the run of the musical, One Day. So great was the demand for Jamie Muscato at the Stage Door post-show that extra security had to be hired to keep control of the dedicated fanbase who turned up, night after night, to see him.
Staying with the Royal Lyceum, a tale of ‘family, football, and finding your way home’ comes to Grindlay Street this month when Gary McNair’s stage adaptation of Ron Ferguson’s novel Black Diamonds and the Blue Brazil (8-23 May) kicks off.
When Sally returns to Cowdenbeath for her father’s funeral, she’s pulled back into the world of ‘The Blue Brazil’ – the trials, triumphs, and unbreakable loyalty of a small-town football club with a big hear
With original music performed live by Deacon Blue’s Ricky Ross, Black Diamonds and the Blue Brazil is billed as more than a football play, but as a story about ‘belonging, loss, and the songs we carry with us.’
Running time TBC, tickets here.
If country music is your thing, the Festival Theatre is the place to head, but be quick. The Ballad of Johnny and June (until 2 May) takes you inside the soaring highs and shattering lows of the lives of June Carter and Johnny Cash. Told through the eyes of their son, John Carter, American musical theatre star Christopher Ryan Grant, who originated the role of Cash in New York is joined by Christina Bianco as the legendary couple. Expect to hear the hits I Walk the Line, Ring of Fire and I’ve Been Everywhere.
Running time 2 hours 25 minutes, including interval, tickets here.
Over at The Playhouse this month they have two musicals and a spooky play well worth catching. First up is Sunny Afternoon (5-9 May), the story of iconic Sixties’ rock band The Kinks.
Following two years in London’s West End and a sensational first UK tour, a hybrid cast drawn from both productions hits the road. A story of friendship, fame and rock history, set to a soundtrack of era-defining songs, the true story of The Kinks features hits like You Really Got Me, Lola, and All Day and All of the Night.
Capturing the spirit and swagger of one of the most influential bands of the British Invasion are Danny Horn as Ray Davies, Oliver Hoare as Dave Davies, Harry Curley as Peter Quaife and Zakarie Stokes as Mick Avory.
Running time 2 hours 40 minutes including interval, tickets here.
Something a bit more homely heads to Greenside Place the following week, Waitress (12-16 May), starring Carrie Hope Fletcher as Jenna and Les Dennis as Old Joe.
Meet Jenna, a waitress and expert pie-maker who dreams of some happiness in her life. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness.
Be warned, Waitress contains strong language, themes of domestic abuse and sexual innuendo with discretion is advised for parents with children under 13.
Running time 2 hours 40 minutes, including interval, tickets here.
From an old favourite to a new favourite, 2:22 A Ghost Story (25-30 May). Starring EastEnders’ James Bye, Natalie Casey, Grant Kilburn and Shvorne Marks, this supernatural thriller, written by Danny Robins the creator of the BBC’s Uncanny, is the story of Jenny, who believes her new home is haunted, and her husband Sam, who isn’t having any of it. When old friend Lauren and her new partner Ben come for dinner, belief and scepticism clash… but something frightening is getting closer as the clock ticks ever nearer to 2:22.
Gary Lucy fans should note that ‘due to circumstances beyond his control’ he is no longer joining the 2026 leg of the 2:22 A Ghost Story UK leg of the tour as Ben.
Running time 2 hours including interval, tickets here.
For two nights only, at Traverse 1, there’s a chance to catch the Scottish Premiere of The Freshwater Five (15-16 May), a richly drawn theatrical investigation into the tragic downfall of five fishermen on the Isle of Wight who were sentenced to a total of 104 years for conspiracy to import £53m worth of cocaine in 2011… ten years later new evidence came to light that cast doubt on the original convictions.
Running time 1 hour 15 mins, tickets here.
Now, if you fancy a London theatre break, without all the hassle of having to book travel and accommodation, Marquee TV lets you enjoy the best plays and musicals from around the UK.
To celebrate adding Othello, starring David Harewood and Toby Jones at the Theatre Royal Haymarket, to their streaming service, Marquee TV are offering readers of MustSeeTheatre.com a promo code to save 30% on an annual subscription to the channel. If that works for you, just click here.
Never one of my favourite of Shakespeare’s tragedies, this production of Othello is something very special – Toby Jones, unlike any Iago you have seen before, is mesmerising. You can read my review of the Othello here.
Finally, huge congratulations to Allan Stewart who won the Stanley Baxter Award For Best Dame at this year’s Pantomime Awards, a great way to mark 50 years in pantoland, the majority of which has been at the King’s Theatre. Well deserved, Allan. Read more about the awards here.
Until next month,
Happy theatre-going, Liam
