Hedda Gabler

Hedda Gabler, by Henrik Ibsen and Patrick Marber, is currently on until Wednesday at Impact Arts in Ingram Street. Directed by Amanda Beveridge, for NCL and employing the talents of some of the Degree students. As always, Amanda has created a thought-provoking production, full of the details for which she is recognised. Although the setting is modern, the feel of the production has a vintage vibe. I understand that Amanda has combined more than one version of the piece to execute her vision. All the performances are solid and consistent, and special mention for Hedda, played by Emma Arbon and Elise Cochet whose restrained hysteria was appropriately discomforting. Tickets may still be available for the two remaining performances, well worth getting one if possible.

Let the People Sing - The Amateur Premiere of Les Misérables:

So a week and a half later, the Amateur premiere of Les Misérables is still the main topic of conversation. Was it near to a professional production, based on feedback from Les Mis veterans, it was? Was it the best production amateur theatre has ever mounted in Glasgow? It was certainly up there? Was it the most financially successful amateur production in Glasgow? I’d be amazed if it wasn’t. However, what matters most of all is I haven’t spoken to a single person who didn’t enjoy every moment of the best musical of the 20th Century (my entirely unbiased opinion). A superb production team, an excellent cast of principals, and a set given a budget that would be a fraction of the budget for professional productions, was remarkable. First the production, Les Mis is a massive piece, I’ve seen it dozens of times over the past 40 years, including 5 times in the past week and a half, and even the schools’ version, the only opportunity for amateurs (under 21) to perform the show, requires significant resources. This production was particularly fortunate to have a readymade production team from The Pantheon Club in the shape of Catrina (Tri) Cumming- Director, Kieran Young- Musical Director and Lynne Bustard- Choreography. All have impressive CVs and lent a professionalism to the production that set a standard for the cast. Kieran’s handling of the orchestra was superb, even when the Thursday evening audience decided to have a clap-along to Master of the House, he was unfazed. I know from gossip that casting was particularly difficult given the significant number of applicants for the various roles, but having seen the final result, I can’t believe that the production team was far off the mark in their final choices. Because my wife and daughter were both in the show, it would be inappropriate to comment on performances, however, I needn’t worry, from the principals to the numerous cameos from the ensemble, there wasn’t a weakness. Indeed, the only criticism is the inevitable one that marks out an amateur from a professional production, too many people on stage at various points in the action. Inevitably, this leads to the occasional ‘footlight fanny’ trying to make themselves visible. Finally, we have the set. I know a lot of the stage crew aficionados in Glasgow, but haven’t met Challum Brown, who designed the set. All I can say is, fantastic. Before the production, I wondered how it would be possible on a restricted budget to produce anything close to the London set, Chullum has succeeded in spades. Executed beautifully by someone who is only starting his career in set design, it certainly didn’t show, and I look forward to seeing him succeed in the profession. Stuart Poole and his highly experienced team handled the technicalities seamlessly. Cameron MacIntosh has made the ‘Let the People Sing’ concept available to 11 cities; Glasgow is the only one in Scotland. I can’t believe that any of the other productions will exceed this in artistic or technical merit. Well done to all involved.