Written and Produced by David Carswell

Directed by Ruairidh Forde

Musical Direction from Ryan Moir

Review by Dominic Corr

Tickets from £17.00

While skeletons of Glasgow’s incredible music scene still mournfully line the streets, a new musical, ‘Glasgow Kiss’, from The ‘Tommy Burns Story’ and ‘PORNO’ writer Davie Carswell, has risen at the Glasgow Pavilion to spark some life into the Autumn streets, and offer a reminder of how rich the cities music heritage is – and ambitiously string it all together with a tale of family and love. Drawing on selections of some of Scotland’s greatest success stories, Texasor Simple Minds, to name but a few.

Music is the draw here, rightfully so. Carswell crams the production with number after number, some with consideration, but far more often shoe-horned into the story, which concerns a man returning home to Glasgow for the only thing which can force people back: a funeral. He reconnects with his family, past romance, and the music of the city he deeply cares about. And while it’s been London Calling for so long, he hits a wall – and realises there might be more to life than working.

There are unescapable shimmers of East-Coast cousin in ‘Sunshine on Leith’ in Carswell’s story, of returning home to Scotland after time away and re-adjusting to life and changes, but Glasgow Kiss has a far more tongue-in-cheek and gallus sense of humour and narrative. It doesn’t take itself seriously, both to credit and detriment. Save for the odd moment, much of the narrative follows the show’s penchant for karaoke-style delivery of the musical arrangements: big, fun, and emotive.

But for all the moments where the writing bounces along a familiar tread, there’s a revelation and tenderness to the whole thing, which blindsides audiences in a brilliant move that plunges the reality of the scenario in a stomach-dropping instant: handled with delicacy and poignancy by Stephen Arden. And really, for as much as this terrific ensemble is all out here giving it their best, Bard in the Botanics regular Arden is a much-needed grounding presence – one which the drama and weight circle around and benefits.

Often at its best when embracing what folks are here for, a good time, Glasgow Kiss has plenty of potential to deliver a solid evening’s entertainment while paying tribute to the city’s music scene – both past and present. It’s vibrant, capturing that unmistakable Barrowlandneon glow with lighting as cast members Valissa Scott, Jennifer Neil, Lorraine Graham, and Pamela Byrne deliver precisely the atmosphere a lot of the audience expects. It’s lively, and the cast works well off one another, even if the harmonies struggle somewhat with the odd flat note. There’s energy bouncing around as the gags and humour flow naturally to and from characters – all feeling entirely authentic and earned.

Real issues arise with the productions’ lack of flowing movement and poor directorial decisions surrounding it. The dance choreography has a place, but the shifts between scenes and character interactions feel meandering and without purpose – exacerbated by the Pavilion’s large stage. It’s controlled the tightest when in the bar. The limited set dressings offer a bit of bulk to the show. Something for the cast to work on and provide levels and movement – Andre Agnew taking up a great role as Tony, and his alter-ego Mary Hill, drag-queen and karaoke host with plenty of vim and an infectious (she’s on antibiotics for it) smile and laugh, delivering some solid vocals and establishing a rapport and cementing the ‘vibe’ of the show with the audience – something the show could lean into a little harder. While James McAnerney gets in plenty of solid gags of the Glaswegian Casanova attempting to get his leg over, it’s full of laughter but also feeds back into the show snippets and underpinning of the laddish culture but does so without the usual distasteful judgements or characters.

Promising and delivering a nostalgic trip through the sepia streets of Glasgow’s music heritage, Glasgow Kiss’ soundtrack and energetic performances are the most effective assists. Its run-of-the-mill plot is balanced with dedicated performers, ensuring the meandering moments which drag down are otherwise levelled into a jumping and compelling musical.

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