Sunshine on Leith is back for a third run since it first started in 2007 – but with one big difference. It is now starring SYT patron Billy Boyd! He joins a practically brand-new cast for the touring production, which is also going down to England. (No idea what they’ll think of the accents)
I saw Sunshine on Leith the last time it was on at Dundee (2008), and I should warn you that it is not your conventional musical. When people hear that it is based on the songs of Scottish duo The Proclaimers, most minds jump to other such musicals as Mamma Mia! (Abba) and We Will Rock You (Queen), both which have very tongue-in-cheek approaches to the story, and also act as a homage to the original artists. Sunshine on Leith is like that, with great elements of humour, but still emerges with a raw emotional heart that manages to hit you in the tear ducts.
(I will say now that when myself, Mr Kyle Pryke and Miss Viki Leech went to see it there was some changes in casting, so this review will be based on who was playing the characters at that performance, and not what it says in the programme)
The play centres around the return of Davy (Billy Boyd) and Ally, soldiers in the Iraq War, to their hometown, Leith. Ally goes out with Davy’s sister, Liz, a fiercely independent young woman determined to go out and see the world. Davy and Liz’s parents, Rab (Jon Buick) and Jean (Anne Smith – usually Ann Louise Ross), are getting ready for their 30th wedding anniversary when Rab (unknown to Jean) receives a letter from a former flame, Margaret (Samantha Blaney) which contains details of their last night together – which happened when Jean was pregnant with Davy… Liz and Ally set up Davy with Yvonne, an English nurse, something that Davy thought would never work – but as this Sunshine on Leith, the path of love never did run smooth…
Highlights include: learning how to speak properly in a call centre (Throw the R Away); the impromptu marriage in a pub (Let’s Get Married); and an embarrassing speech from Rab (Oh Jean), and the tender emotional songs such as Letter from America, Sunshine on Leith, not to mention the famous 500 Miles, and yes, you will be expected to join in! I’d love to say more without giving anything away, but, that’s pretty much impossible. The music’s fantastic, with a live band, and a simple set allows the scenes to move swiftly into each other. The first song was a bit loud, but the audience soon settled into the natural flow of things.
Otherwise, a flawless production!
Tuesday 14 September 2010
Wednesday 1 September 2010
SYT News - September 2010
Hello everyone!
It's hard to believe the Summer Festival 2010 programme of workshops, rehearsals and performances is over. The Festival was a resounding success with audiences, theatre critics and participants alike.
Now September is here and it's already feeling less summery outside, that can mean only one thing - Autumn/Winter Season at SYT! Hold your breath as there's a lot to take in here. OK, here goes:
Classes - weekly drama in Aberdeen, Edinburgh and Glasgow start back this month. If you haven't booked your place, don't miss out. Numbers are limited. And if you haven't tried these workshops before then why ever not?! ;) They're immense fun, led by professional tutors and take place in either His Majesty's Theatre Aberdeen, Edinburgh Festival Theatre or The Old Sheriff Court. All of these venues are stunning in their own unique way. It's not all about learning about theatre either - build your confidence, make new friends and try something a bit different.
The National Roadshow kicks off in October. The SYT team take to the roads of Scotland and will travel to literally any corner of the country to give you and your school /youth drama group a taste of SYT is like. And for the small price of £50. For more info on this, click here. It's a great opportunity for us to come to you, so if you know someone that might be interested, email roadshow@scottishyouththeatre.org.
Are you sitting comfortably? Then let SYT tell you a story! Family Story Time (a personal favourite!) starts back for a third season. Hurray! These magical sessions are for little ones and their families. The SYT Productions gang bring classics as well as more unusual children's tales to life with props, sound effects and bags of talent. Want to know the new stories? Click here.
Phew, I'm exhausted just typing! Not finished, try to keep up!
The October Course will involve all things spooky, mysterious and of course be heavily concerned with acting. Possibly a bit of devising. Don't want to give too much away at this stage, still something of a work in progress. As always it will be a fun and exciting way to spend the break. As if you'd expect anything less! Just keep a close watch on the facebook fan page, blog and SYT homepage.
Wee Red is the next festive production from SYT Productions. Again, this performance will be aimed at 3-7's & their families, in keeping with the style of The Beauty of Sleeping Wood, The Puddock & the Princess and The Ugly Duckling. Wee Red could be the naughtiest of all our main characters. Come along to find out why sometimes, Mum is right!
Company news in brief:
- SYT will be working with film production company Urban Croft, River Clyde Homes and Inverclyde Academy to produce Up Close: Young People's Documentary. Already can't wait to see the finished result.
- SYT Artistic Director & Chief Executive Mary McCluskey has been working with Y-Dance and BAFTA winning writer/director David Cosgrove on the story of Icarus, the Greek fable about the boy who wanted to fly. Above are some rehearsal shots of the cast - flying! Looks like there's a lot of skill involved here in these rehearsals - but looks like lots of fun, no?!
Participant news in brief:
- Well done to Cara Duffy, who successfully won the part of understudy in the musical re-telling of The Secret Garden. Cara goes to weekly classes and has taken part in Summer Festival too. Bravo Cara, what an achievement!
- Ex-participant Craig Steele, who is on an adventure down under, is clearly taking everything in his stride and showing folk in the land of Oz how things are done. Read the article about Craig's success here.
- Jayne Austin will be taking part in the Commonwealth Games Flag Handover ceremony in Delhi - in a cast 350 people strong! The show will be televised around the world (eeek!) in October. There will be lots more to report on this in the run up, so again, watch this space!
It's non stop at Scottish Youth Theatre - but that's the way everyone here loves it.
Saturday 14 August 2010
The first ever Summer Festival - a personal account by Gordon Walters.
Thank you to Gordon for giving up his time to right this and share his memories in such fantastic detail. When he left a kind comment on the fan page, I was curious if he had a lot of Summer Festival memories to share ... luckily, he did. Gordon now lives in London and sits as Judge - but it seems that his own Summer Festival experience has stayed with him to this day, like it will for all of you.
Hope you enjoy this, it's rather special.
In 1977 I was in my fifth year at Aberdeen Grammar School and had been a member of their dramatic society since my first year. By that time I was stage director and set designer. I do not recall how I became aware of SYT but the interview was quite galling for a 16 year old. It was before a panel of 3 and I made a presentation based on my design for “The Long and the short & the Tall” which included a model set that I still have.In addition there was some form of group activity that as a backstage person was somewhat alien!
A few weeks later I received a letter advising that I’d been selected to attend the summer school in Edinburgh. My attendance was sponsored by the Gulbenkein Trust and of course my own parents. It was made clear that money would not be an obstacle and various trusts and organisations were professionally lobbied to support the venture.The summer school extended for around 5 weeks during which time we were accommodated in some of the traditional halls of residence of Edinburgh University. 1977 was a beautiful summer and to be living within a glass quad was perfect.Most of us had our own rooms that were segregated with boys and girls on separate floors. There was a communal lounge and we ate meals in a dining room with pre allocated tables with a bizarre ritual involving a napkin. Every weekday morning we were collected by bus and transported to Moray house which was a theatre within the department of education. I would describe it as low tech but it was a labyrinth with a colourful caretaker come props maker in the basement blaring out opera music.Initially we were all together in workshop classes where we worked through improvisations and I learnt to tango. I recall it all being very collaborative with very few egos. There were a few boys who had acted on TV or had already established themselves but overall be we all just got one with it.After a couple of weeks the two productions were cast and we stage craft people went our own separate way. The two productions were “Just a Joust” ; a child oriented production designed as a matinee show. The other production was “Oh what a lovely peace” that was specifically written for the SYT and concerned the development and deployment of the atomic bomb. This was a strange theme in 1977, which although within the Cold War many assumed CND to be a 60’s anachronism.I was disappointed that we were not involved with the set design. We did however construct the set and many of the props. An essential component of the production was back projection of nuclear war imagery. This involved me watching hours of contemporary film and selecting frames to be projected at key times. Another part of the design required posters and I spent several days walking around Edinburgh locating and persuading companies to give posters that could be incorporated within the set.The public productions were held in the final week. There were many long hours of rehearsal as the script changed, parts developed and roles changed.Compared with my role at the Grammar School I was somewhat underutilised but was determined to get the most out of the experience. I made loads of suggestions and worked hard to maximise my involvement.1977 was another time. With no mobile phones, texting, internet or facebook we were indeed isolated from our friends and family. As such we formed a cohesive group. I did not consider myself an old looking 16 year old but anyway I was able to be served to keep within the group of older participants who formed the stage management cadre. As with most productions the performances grew tighter as the shows progressed until the final night. The final night was very special. The production was a clever mix of media for its time. Whilst our youth may have undermined the gravitas it underlined the poignancy of the subject.For me the two greatest moments were the singing of “We’ll have Manhattan” originally sung by Ella FitzGerald and incorporated to reflect the Manhattan Project itself and then the finale, which involved me waiting under stage and then during a blackout lighting and placing a menorah of joss sticks in silence.Afterwards we all left Moray House for the last time and headed back to the halls. We spent the remainder of the night and well into the morning making adolescent promises of undying commitment while signing copies of the play programmes and playing guitars, pianos. I have no doubt that any one of those 100 people had more talent than the wanabees that parade before us in tv talent shows. Yes everyone wanted to be famous, but more than that they wanted to succeed as an actor, singer, dancer, designer or such. We lived together for 5 special weeks in a very special Scottish summer. As we were collected by our parents and Jaguars, Bentleys and Morris Minors betrayed the equality enjoyed over those weeks we all knew that something special had happened and would be a part of us in the future.For me, I returned to Aberdeen and under the inspiration of the charismatic Annie Inglis became the youngest designer and stage director of the local amateur dramatic company. As I approach my 50th birthday after a life in commerce and now sitting as a Judge in England I have nothing but fond memories of my time in the SYT. I am delighted that it has gone from strength to strength and am confident that the current participants will look back in 2043 with the same smile on their lips as wonderful faces, falls and laughter return to their minds.
Gordon Walters.
Hope you enjoy this, it's rather special.
In 1977 I was in my fifth year at Aberdeen Grammar School and had been a member of their dramatic society since my first year. By that time I was stage director and set designer. I do not recall how I became aware of SYT but the interview was quite galling for a 16 year old. It was before a panel of 3 and I made a presentation based on my design for “The Long and the short & the Tall” which included a model set that I still have.In addition there was some form of group activity that as a backstage person was somewhat alien!
A few weeks later I received a letter advising that I’d been selected to attend the summer school in Edinburgh. My attendance was sponsored by the Gulbenkein Trust and of course my own parents. It was made clear that money would not be an obstacle and various trusts and organisations were professionally lobbied to support the venture.The summer school extended for around 5 weeks during which time we were accommodated in some of the traditional halls of residence of Edinburgh University. 1977 was a beautiful summer and to be living within a glass quad was perfect.Most of us had our own rooms that were segregated with boys and girls on separate floors. There was a communal lounge and we ate meals in a dining room with pre allocated tables with a bizarre ritual involving a napkin. Every weekday morning we were collected by bus and transported to Moray house which was a theatre within the department of education. I would describe it as low tech but it was a labyrinth with a colourful caretaker come props maker in the basement blaring out opera music.Initially we were all together in workshop classes where we worked through improvisations and I learnt to tango. I recall it all being very collaborative with very few egos. There were a few boys who had acted on TV or had already established themselves but overall be we all just got one with it.After a couple of weeks the two productions were cast and we stage craft people went our own separate way. The two productions were “Just a Joust” ; a child oriented production designed as a matinee show. The other production was “Oh what a lovely peace” that was specifically written for the SYT and concerned the development and deployment of the atomic bomb. This was a strange theme in 1977, which although within the Cold War many assumed CND to be a 60’s anachronism.I was disappointed that we were not involved with the set design. We did however construct the set and many of the props. An essential component of the production was back projection of nuclear war imagery. This involved me watching hours of contemporary film and selecting frames to be projected at key times. Another part of the design required posters and I spent several days walking around Edinburgh locating and persuading companies to give posters that could be incorporated within the set.The public productions were held in the final week. There were many long hours of rehearsal as the script changed, parts developed and roles changed.Compared with my role at the Grammar School I was somewhat underutilised but was determined to get the most out of the experience. I made loads of suggestions and worked hard to maximise my involvement.1977 was another time. With no mobile phones, texting, internet or facebook we were indeed isolated from our friends and family. As such we formed a cohesive group. I did not consider myself an old looking 16 year old but anyway I was able to be served to keep within the group of older participants who formed the stage management cadre. As with most productions the performances grew tighter as the shows progressed until the final night. The final night was very special. The production was a clever mix of media for its time. Whilst our youth may have undermined the gravitas it underlined the poignancy of the subject.For me the two greatest moments were the singing of “We’ll have Manhattan” originally sung by Ella FitzGerald and incorporated to reflect the Manhattan Project itself and then the finale, which involved me waiting under stage and then during a blackout lighting and placing a menorah of joss sticks in silence.Afterwards we all left Moray House for the last time and headed back to the halls. We spent the remainder of the night and well into the morning making adolescent promises of undying commitment while signing copies of the play programmes and playing guitars, pianos. I have no doubt that any one of those 100 people had more talent than the wanabees that parade before us in tv talent shows. Yes everyone wanted to be famous, but more than that they wanted to succeed as an actor, singer, dancer, designer or such. We lived together for 5 special weeks in a very special Scottish summer. As we were collected by our parents and Jaguars, Bentleys and Morris Minors betrayed the equality enjoyed over those weeks we all knew that something special had happened and would be a part of us in the future.For me, I returned to Aberdeen and under the inspiration of the charismatic Annie Inglis became the youngest designer and stage director of the local amateur dramatic company. As I approach my 50th birthday after a life in commerce and now sitting as a Judge in England I have nothing but fond memories of my time in the SYT. I am delighted that it has gone from strength to strength and am confident that the current participants will look back in 2043 with the same smile on their lips as wonderful faces, falls and laughter return to their minds.
Gordon Walters.
Monday 9 August 2010
Survival guide - How to cope without Summer Festival
These tips are merely suggestions from Scottish Youth Theatre's (at times rather dim) Marketing Officer. Scottish Youth Theatre is not responsible for any repercussions experienced by any of you silly enough to try these out at home (so in short, probably best not to). Here we go ...
1) Hypno therapy. You can use this to either sedate the insurmountable feeling of grief with which you are now afflicted or, to transport yourself back to the dates between the 5Th July - 7Th August 2010. Chanting helps. "God's Will" / "Hurray for Captain Phoebus" / the song from Norwegian Wood that gets faster and faster - that will work especially well.
Unfortunately, hypnotherapy can be pricey. I suggest fashioning (unless you have a metronome to hand, I don't know, you might) a hypno device out of a baseball cap with a tea spoon sellotaped to the front so it dangles in front of you. Sway your head from side to side. Easy.
2) Communicate only with fellow participants. By blocking out your immediate surroundings, you will be able to recreate the feeling of being on Summer Festival remotely. This can be tricky. So use a multi pronged approach - facebooking, emailing, phone calls and text messages all simultaneously. Another draw back of this is that you hog all of your household's means of communication, thus pricey & time consuming and not likely to be all that endearing to those that you live with.
3) Recreate the production that you were in by using print outs & cuddly toys. Blow up the images, print them out and then cut out the heads of the cast. Then stick the heads to any cuddly toys you have. Using old shoe boxes and more print outs of the production shots, recreate the set. Really small sticks are useful for set / props too. Or really small twigs, in a puppet show style with bits of the set / props stuck to them. Eugh no, actually forget that ... puppets are CREEEEEEEEEPY! No puppet like behavior.Absolutely not, shudder.
4) For the next 3 months, dress in the style of your character / one of your favourites if you played a few. This should prove very diverting as one production was set in the 11Th century, another in 18Th century Paris and another in a woodland in Norway. You will be so inundated with questions about your 'new look' you won't have time to be sad about not being at Summer Festival. Accents could be incorporated here, too.
5) Start writing "SYT - THE MUSICAL!". Audiences have been crying out for a show of this nature for, oh, positively a very long time. It should last no less than 2 hours (each way) and feature a minimum of 25 songs. The choreography should incorporate influences from the can-can, to street dance, tap, classical ballet, with a recurring parcours theme to be employed as much as possible. Plot should feature building supervisor James Rooney as the Hero, script based on Shakesperean tragicomedy. That's enough of a brief for now.
6) Start fund raising for next year - now.
7) Remember, it could be worse. You could be (insert name of one of the screeds of shamed celebrities). I'll let you use your own imagination for that bit.
1) Hypno therapy. You can use this to either sedate the insurmountable feeling of grief with which you are now afflicted or, to transport yourself back to the dates between the 5Th July - 7Th August 2010. Chanting helps. "God's Will" / "Hurray for Captain Phoebus" / the song from Norwegian Wood that gets faster and faster - that will work especially well.
Unfortunately, hypnotherapy can be pricey. I suggest fashioning (unless you have a metronome to hand, I don't know, you might) a hypno device out of a baseball cap with a tea spoon sellotaped to the front so it dangles in front of you. Sway your head from side to side. Easy.
2) Communicate only with fellow participants. By blocking out your immediate surroundings, you will be able to recreate the feeling of being on Summer Festival remotely. This can be tricky. So use a multi pronged approach - facebooking, emailing, phone calls and text messages all simultaneously. Another draw back of this is that you hog all of your household's means of communication, thus pricey & time consuming and not likely to be all that endearing to those that you live with.
3) Recreate the production that you were in by using print outs & cuddly toys. Blow up the images, print them out and then cut out the heads of the cast. Then stick the heads to any cuddly toys you have. Using old shoe boxes and more print outs of the production shots, recreate the set. Really small sticks are useful for set / props too. Or really small twigs, in a puppet show style with bits of the set / props stuck to them. Eugh no, actually forget that ... puppets are CREEEEEEEEEPY! No puppet like behavior.
4) For the next 3 months, dress in the style of your character / one of your favourites if you played a few. This should prove very diverting as one production was set in the 11Th century, another in 18Th century Paris and another in a woodland in Norway. You will be so inundated with questions about your 'new look' you won't have time to be sad about not being at Summer Festival. Accents could be incorporated here, too.
5) Start writing "SYT - THE MUSICAL!". Audiences have been crying out for a show of this nature for, oh, positively a very long time. It should last no less than 2 hours (each way) and feature a minimum of 25 songs. The choreography should incorporate influences from the can-can, to street dance, tap, classical ballet, with a recurring parcours theme to be employed as much as possible. Plot should feature building supervisor James Rooney as the Hero, script based on Shakesperean tragicomedy. That's enough of a brief for now.
6) Start fund raising for next year - now.
7) Remember, it could be worse. You could be (insert name of one of the screeds of shamed celebrities)
Saturday 7 August 2010
3 & 5 week party
They asked me to take this one.
This one started off as a group shot, that Scott then sabotaged. 
A teeny spot of whinging about the song choices eventually descended into, well, see for yourself ... See microphone, seize microphone become a karaoke tour de force. Or something along those lines.
Wednesday 4 August 2010
The Court of Miracles
Ladies and gentlemen, you are - not so cordially ;) - invited to enter the Court of Miracles ...
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