Written by Johnny McKnight

Directed by Sally Reid

Review by Katherine McIntyre

The Tron Theatre

The Tron’s festive panto doesn’t so much open with a bang as with a full‑blown glitter cannon. Gallus in Weegieland, Johnny McKnight’s latest slice of seasonal mischief, drags us doon the rabbit hole and straight into a Glasgow‑flavoured Wonderland where sequins are currency, tracksuits are haute couture, and leftover Blue Lagoon passes for fine dining. It’s daft, it’s dazzling, and it’s exactly the tonic for a dreich November night.

A riot of colour and clash, Kenny Miller’s set and costumes find checkerboard floors colliding with rainbow palettes, tartan stitched into glitter, and more sparkle than Sauchiehall Street on a Saturday. The whole thing feels like a fever dream in drag – and that’s precisely the point. Amid the chaos, Honey the Caterpillar proves the shimmering heart of the show. Marc Mackinnon doesn’t just play Honey; they revel in it. With comic timing sharper than a Clydeside wind and vocals that soar above Ross Brown’s score, Mackinnon turns a character that could easily be throwaway into a star turn. Every gag lands, every note rings clear, and Honey becomes the audience’s guide through the madness, a gallus butterfly in waiting.

Hatty, meanwhile, keeps the whole affair from spiralling into pure bedlam. Catriona Faint has the knack of pacing the story without ever dampening the fun – her delivery is crisp, her presence warm, and she threads the narrative needle with a wink that keeps the crowd right on side. But it’s Louise McCarthy’s Queenie of Hearts who is a diva for the ages. Passion pours from every limb, quite literally, as Eva Forrester’s choreography has her flinging them without a care for insurance.

McCarthy relishes the villainy, crafting a monarch who’s both terrifying and hilarious, a right royal riot who commands the stage with menace and glamour. Against this backdrop, Star Penders’ Knavey of Hearts adds swagger and charm, while Jessica Donnelly and Aidan MacColl bring comic bite as tart‑wielding minions.

And then there’s Alice. Jorgey Scott‑Learmonth makes a professional debut that’s anything but tentative. Their vocals are strong, their comic instincts sharp, and they hold their own against seasoned panto pros with confidence. Alice’s yearning for escape back to Glasgow’s West End – played with just the right mix of sincerity and sly humour. Brown’s music and Forrester’s choreography keep the energy fizzing, peppered with pop references that land with knowing laughs. Ensemble numbers dazzle, solos soar, and the balance between parody and sincerity ensures the show never loses its gallus edge.

This isn’t just another seasonal romp. Gallus in Weegieland is a cheer‑soaked carnival of inclusivity and eccentricity, a panto that struts, sparkles, and refuses to apologise. It’s Glasgow through the looking glass: brash, brilliant, and bursting with heart. You’ll leave with glitter in your hair, a grin on your face, and the sense that the Tron’s panto is still the boldest party in town.

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