14 - 18th May 2013
Eastwood Park Theatre
Director: Robert Fyfe
Musical Director: David Dunlop
Choreographer : Eleanor Weir
Broadway's greatest farce is light, fast-paced, witty, irreverent and one of the funniest musicals ever written. A FUNNY THING HAPPENED ON THE WAY TO THE FORUM takes comedy back to its roots, combining situations from time-tested, 2000 year old comedies of Roman playwright Plautus with the infectious energy of classic vaudeville.
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM is a non-stop laugh-fest in which Pseudolus, a crafty slave, struggles to win the hand of a beautiful but slow-witted courtesan named Philia, for his young master, Hero, in exchange for freedom. The plot twists and turns with cases of mistaken identity, slamming doors, and a showgirl or two.
This unforgettable, hysterical musical allows a terrific ensemble of comedic actors to shine--"something for everyone, a comedy tonight!"
Tintinabula - Pamela Johnstone
Panacea - Laura Soutar
The Geminae - Catherine Anne Ross & Pamela Ross
Vibrata - Kirsty Barrett
Gymnasia - Paula Russell
Protean 1 - Sam Gorman
Proetan 2 - Graeme Mackay,
Protean 3 - Raymond Cairns
Senex - Tom Russell
Domina - Susan B. Russell
Hero - Ryan Towart
Philia - Elle Mackenzie
Hysterium - Iain G. Condie
Pseudolus/Prologus - Will Pollock
Erronius - Ken Christie
Miles Gloriosus - J. Campbell Kerr
Marcus Lycus - Conrad Cohen
The Eunuchs - Dav McKenzie & Alan Stirling
Courtesans - Lorna Bridges, Anne Fraser, Marie-Claire Leese, Caroline Shaw, Merlyn Soutar, Margaret Watt
"This is a joyous production by a spirited company richly deserving acclaim"
Glasgow Theatre Blog
"What can you do when a script and a show, even when written by someone so talented as Stephen Sondheim, becomes so, so dated? Well, perhaps not touch the show, or perhaps edit it drastically, or perhaps do what Runway Theatre Company has done and throw everything at it with 100% + enthusiasm, and hope that nobody notices the glaring weaknesses. Well, the weaknesses are noted, especially in Act One of this new production by Robert Fyfe for Runway, and this long show takes a long time to get going, especially Act One which came down just before 9pm. The dialogue, delivered in a surprising variety of accents by the large cast, drags and is ponderous and the script just can't take this lethargy; also the opening iconic number, Comedy Tonight, performed by the complete company led by the irrepressible Will Pollock as Pseudolus, cannot be heard because of the incredibly intrusive band, which drowns out all of the intervening dialogue during this particular number - this also happens later in the evening during the Funeral Sequence, and it is so frustrating. Mr Pollock commands the stage in the massive role, and was understandably nervous last night at the opening performance; as a result he was trying too hard to be Zero Mostel, and therefore the comedy felt forced and uncomfortable; luckily this changed before the end of the first act when Pollock relaxed and started to enjoy himself, as did we when he became himself and showed us that wonderful rapport which he can have with an audience - so essential in this role, and indeed in this show. Ryan Towart as the naive young Hero was excellent with a superb music theatre voice, and the trusted Iain G. Condie, as Hysterium, lived up to his stage name and worked well with Pollock, and with J. Campbell Kerr as Miles Gloriosus, who looked superb as the vain warrior, except for the ridiculous boots which he was made to wear and which gave his character a decidedly camp, pantomime slant. Conrad Cohen as Marcus Lycus, gave a quietly subtle performance, and had a wonderful vocal range in both his dialogue and singing, and Ken Christie made the most of his drole part, continually crossing the stage, and keeping the action going. Good support came from Tom Russell, and the three actors who appeared as the Proteans, (and who worked extremely hard during the whole evening). The set was bright and colourful and very functional, the costumes slightly drab and disappointing, but the whole performance caught fire in Act Two, which sparkled from curtain up until the well-rehearsed and fun curtain call; at last we saw the potential in this show, which seemed to be missing in Act One, and the audience loved it, especially the broad farce and chase towards the end. Only in this Act did we see why this show is so respected and worthy of the name of Sondheim."