CHRISTMAS theatre isn’t only about pantomime. Oh no it isn’t! At this time of year, when many families gear up for an annual theatre trip, a goodly number of Scotland’s playhouses eschew the traditional transvestism and calling doon of the cloot in favour of productions of family theatre or Yuletide ballet.
Edinburgh’s beautiful Royal Lyceum, for instance, is renowned for its stylish seasonal plays for audiences of all ages. This year’s production – a new version of Hans Christian Andersen’s much-loved fairytale The Snow Queen (until December 31) – promises to be a highlight of the winter theatre season.
The show is adapted into Scots-English by the celebrated playwright Morna Young, with original music by acclaimed theatre composer and singer-songwriter Finn Anderson, and direction by leading theatre-maker Cora Bissett.
READ MORE: Fleg: The Unionist couple are the stuff of comic caricature
This version re-sets the Danish bard’s famous story to Scotland, with the intrepid Gerda (who embarks on a quest to rescue her best pal Kei from the clutches of the evil Snow Queen) hailing from Auld Reekie itself.
As if all of that wasn’t exciting enough, Bissett has assembled an all-star cast of top Scottish actors. Young talents Rosie Graham and Sebastian Lim-Seet lead the line as Gerda and Kei, with the excellent Claire Dargo as the titular baddie and brilliant musical theatre artist Richard Conlon promising comic relief as Hamish the Unicorn.
Add to that the talents of such fine actors as Wendy Seager, Antony Strachan, Naomi Stirrat and Samuel Pashby, and who can doubt that Lyceum audiences have a real Christmas treat in store?
A musical theatre treat is also on offer at Dundee Rep, where the famous ensemble is reviving its acclaimed 2021 adaptation of Charles Dickens’s evergreen seasonal favourite A Christmas Carol (until December 30).
With music and songs by the talented duo of Scott Gilmour and Claire McKenzie (aka Noisemaker) and staging by the Rep’s artistic director Andrew Panton, the Tayside playhouse is promising that its re-telling of the tale of the miserly Scrooge and his encounters with the ghosts of Christmas past, present and future will be “better than ever”.
That’s a bold claim, because the original staging acquired plaudits from all quarters. Reviewing the premiere production for the Sunday National, I praised, “the gorgeous, live performance of Gilmour and McKenzie’s music and songs”, noting that they ranged, “from a lovely, original Christmas carol to the music for the ceilidh thrown by the two Scottified, female Fezziwigs…”.
“This is a wonderfully inventive and highly original Christmas Carol,” I continued. “Yet, with its energising audience participation and exceptional live music and song, it is also surprisingly and pleasingly traditional.”
If Panton manages to top that, Tayside audiences will be fortunate indeed.
In addition to its presentations of quality musical theatre this Christmas, the Scottish stage also offers, as ever, a traditional ballet by our national dance company. This year, however, Scottish Ballet’s Cinders! (Theatre Royal, Glasgow, December 9-31, then touring until February 10) puts a twist on its interpretation of the famous musical score by Prokofiev.
This much-loved Christmas ballet, choreographed by Scottish Ballet’s acclaimed artistic director Christopher Hampson, is being revived with a new, Art Deco design and, most intriguingly, a tweak to its gender casting.
“Breaking with tradition in theatre is a tradition in itself,” the company says. “Scottish Ballet’s playful new production of Cinders! will have a surprise in store each night for audiences as the curtain rises: on some nights, Cinders will be a woman, swept off her feet by her Prince, and on others, Cinders will be a man, swept off his feet by his Princess!”
It’s a lovely tweak to the story, and, as the late film critic Barry Norman might have said, “why not?”.
Whether Cinderella is male or female, theatregoers can be certain of a seasonal ballet that maintains Scottish Ballet’s gloriously high standards of production and performance. Another brilliant winter ballet is in prospect.
Be it family theatre or ballet, the Christmas period is the perfect time to take children to the theatre. If your weans are at the younger end of the age range, fear not, a number of Scotland’s playhouses are offering bespoke productions just for them.
For example, the Macrobert Arts Centre at the University of Stirling is staging Eric the Elf (December 5-31). Created by acclaimed musical theatre specialist Andy McGregor and directed by Julie Ellen, this piece for pre-school children follows the adventures of Eric on his first day of work in Santa’s workshop.
In Edinburgh, at the excellent city centre venue The Studio, little ones aged four to seven (and their loved ones, teachers and carers) are invited to the Unicorn Christmas Party (December 8-24). This glittery two-hander – in which unicorns Luna and Melody host a party full of music, song and dance – was very well-received when it premiered in Aberdeen two years ago.
Now it’s the turn of children in Edinburgh and the Lothians to enjoy the unicorns’ wonderland of little Christmas trees, giant baubles and massive candy sticks. The show is set in a magical forest, incorporates an array of Christmas pop songs and runs at around 60 minutes (the ideal length for young theatregoers).
Finally, not to be outdone, Glasgow also has a seasonal production for younger children. Playing at the famous Tramway venue on the southside of the city, Ginger (December 6-16), is an interactive show for kids aged three to seven that combines puppetry, performance and play.
READ MORE: Mark Brown: The enduring appeal of Wicked ahead of Edinburgh tour
The work of the celebrated Tortoise in a Nutshell theatre company, the show finds the titular celebrity baker in her super-cool, 1950s-style kitchen baking gingerbread people.
However, one misshapen and discarded baked person refuses to accept their rejected status and emerges from the bin to create all manner of comic chaos in the kitchen (which, let’s face it, promises to be as hilarious for adults as it does for children).
So, there it is, whether it’s a glamorous queen of the frozen north, a male Cinderella, an excited elf or a defiant biscuit, Scottish theatre has a lot more than pantomime to offer this Christmas.
Why are you making commenting on The National only available to subscribers?
We know there are thousands of National readers who want to debate, argue and go back and forth in the comments section of our stories. We’ve got the most informed readers in Scotland, asking each other the big questions about the future of our country.
Unfortunately, though, these important debates are being spoiled by a vocal minority of trolls who aren’t really interested in the issues, try to derail the conversations, register under fake names, and post vile abuse.
So that’s why we’ve decided to make the ability to comment only available to our paying subscribers. That way, all the trolls who post abuse on our website will have to pay if they want to join the debate – and risk a permanent ban from the account that they subscribe with.
The conversation will go back to what it should be about – people who care passionately about the issues, but disagree constructively on what we should do about them. Let’s get that debate started!
Callum Baird, Editor of The National
Comments: Our rules
We want our comments to be a lively and valuable part of our community - a place where readers can debate and engage with the most important local issues. The ability to comment on our stories is a privilege, not a right, however, and that privilege may be withdrawn if it is abused or misused.
Please report any comments that break our rules.
Read the rules here