Review: Ceilidh (Shoreditch Town Hall / UK Tour)
Review by Daz Gale
⭐️⭐️⭐️⭐️⭐️
Every so often, a new piece of theatre comes along that refuses to settle for the tried and tested measures widely associated with the medium, instead opting to try something new and different, sometimes combining different mediums to unconventional and unexpected results. When they work, the stars align and something special is created. When they don't, it can haunt our nightmares forever. The latest show to attempt something different is Ceilidh, enjoying a London season at Shoreditch Town Hall following a run in Scotland and ahead of an imminent UK tour, but would this blend of tradition, culture and theatre have me dancing with joy?
Pronounced Kay-lee, a Ceilidh is a traditional social gathering that consists of live music, dancing and storytelling. For the musical Ceilidh, all of that is incorporated as the essence of a traditional Scottish Ceilidh is recreated with a theatrical twist. The story behind this particular Ceilidh has caller, Ramsay, recount his own story as he shares his family history through three generations full of love and legacy, with a surprise or two along the way.
There will be some reading this who know exactly what a ceilidh is and may have been to some themselves. There will be others who are ceilidh virgins and may never have even heard of it before. I’m ashamed to say I fall into the latter category, though I found it very interesting and telling when explaining the show to people before attending without even saying the show title, the response was often “Like a ceilidh?”. On paper, Ceilidh did not sound like something I would necessarily enjoy, especially given my reluctance for audience participation, but the buzz surrounding this show was too much to ignore, and the multiple people who told me I had to experience it for myself let me abandon my instincts and throw away my inhibitions. As you may tell from the star rating, I’m glad I did.
If a cold shiver went down your spine at the words “audience participation”, let me explain how it works in Ceilidh. Essentially, you decide how much or how little you want to take part in. If you would prefer to observe the action, seats in the balcony give you a bird’s-eye view of the floor. However, if you want to join in with a dance or two, grab an unreserved seat on the floor knowing you’ll only be sitting there for half of the show. Telling myself I was not going to dance, a cast member pulled me up onto the floor as the first audience member to take part, and that set the tone for them all. I may not be the best dancer, and my friend may have lacked complete co-ordination that made our “Strip the willow” an absolute disaster, but none of that matters. This isn’t Strictly Come Dancing, this is Ceilidh where everyone is encouraged to be themselves and have fun with no fear or pressure of anyone judging - and that is what made this such fun. Though if your hair is as out of control as mine, make sure you prepare in advance. To use a line I thought I’d never use in a review, I danced all of the product out of my hair, and it was wild by the time we got to the last dance.
It is the mixture of traditional ceilidh elements with the theatrical aspect unique to the musical that makes Ceilidh such a unique experience. The audience are asked to stand up and join the cast on the floor to learn the dance and do it themselves. They then sit back down and watch the dance they have just done be replicated in the story. It is a bold choice to do it this way rather than the other way around, but it works as it brings a familiarity and relatability to those who may otherwise have felt lost. Scott Gilmour and Claire McKenzie have written a beautiful story that can connect and move an audience no matter what their prior knowledge or experience of a ceilidh or the culture is. There are moments that will evoke memories and create a sense of nostalgia for those with experience, but there is plenty to engage anyone who has no memories or experience whatsoever. There is slightly more to the story than meets the eye, with more of a story structure taking shape as the show progresses, but it is best for you to experience this yourself rather than have me give away what the actual show is all about.
Ceilidh is directed by Sam Pinkleton with his usual sense of fun and flair. Pinkleton prides himself on work that defies convention, mentioning in the programme about making work that abandons the proscenium model. To have audience members surround a dance floor in an actual town hall rather than a theatre is certainly not the most obvious of choices for a musical, but Pinkleton doesn’t just make it work, he makes it absolutely astounding. The transitions from dance to story, from tradition to theatre are always executed with ease thanks to Pinkleton's remarkable direction that beautifully pays homage to one of Scotland's oldest traditions while bringing it up to date. Though the real choreography comes from generations of Scottish people, Pinkleton’s efforts as choreographer tie it all together in tune with his direction to make full use of space and incorporate some surprising modern elements into the mix.
A cast of actor-musicians bring the story to life, led by co-creator Scott Gilmour as Ramsay. There is a real confidence and charm to his performance that perfectly introduces the audience to the world, never assuming they already know elements and beautifully blending it all together so everybody is always on the same page, and nobody falls behind. David Rankine and Kirsty Findlay are similarly strong as Ramsay’s parents, with Star Penders getting a wonderfully funny role as Granny Maclavane. The personal standout for me was Laura Lovemore’s scene-stealing turn as Yvonne, a larger-than-life character who provided the biggest laughs of the evening through her incredible stage presence and knack for flawless comic timing. Her scenes with Charlie West’s Darren were an absolute delight, and I would happily watch a spin-off focusing on this fabulously dramatic couple.
Scottish culture is all over Ceilidh, with kilts, bagpipes and even a dram or two for the audience to enjoy along the way. I found myself enraptured by the tradition, and despite not being Scottish myself or having any prior knowledge of it, I was amazed by it all. Ceilidh is all about community, and that means striking up a conversation with your neighbour here or even taking their hand and joining them for a dance. At its heart, Ceilidh is a celebration. A celebration of life, of love, of culture, of tradition, of everything that makes us alive. You don’t have to be Scottish to feel that, and those themes are universal, and the way Ceilidh demonstrates that is second to none.
The world is admittedly a scary place at the moment, and sometimes all you long for is a bit of escapism. This is what theatre is best for, but Ceilidh manages it better than most. The very epitome of leaving your troubles at the door and dancing your cares away, Ceilidh is the perfect tonic for anyone who wants to switch off. A beautiful celebration, I have rarely seen anything on stage quite as joyous as this. I defy anybody to go to Ceilidh and not beam throughout - one thing is for sure, you will feel purer, more wholesome and all the richer for attending. You may not think Ceilidh is the show for you - I will respond by saying Ceilidh is for everyone, and I urge everyone to see this unique and unbelievable experience for themselves. If you could bottle joy like Ceilidh does so brilliantly, I would be drinking it like a shot of dram.
Ceilidh plays at Shoreditch Town Hall until 13th November. Get tickets from £20 at https://allthatdazzles.londontheatredirect.com/musical/ceilidh-tickets
It then tours around the UK until March 2027 with dates and tickets at https://ceilidhmusical.co.uk/#tour
Photos by Luke Dyson