Matt Murphy
A few weeks ago when the Baltimore media outlets were invited to a brief preview of the new Scottish musical Ceilidh, pronounced KAY-lee, we were all entertained and enthralled with the music and interactive aspects of the show. What we were not prepared for upon seeing the production in full was how deeply emotional and profound the story is, while still being loads of fun. But it has moments that surprise and moments that hit hard, so bring some tissues.
If you’re not familiar with what a ceilidh is, it is a community celebration, a time to dance and commune with your family, friends and neighbors. The closest thing you could compare it to in the United States is a big old-fashioned barn dance, which also features group dancing directed by a ‘caller’. In Ceilidh the caller is Ramsay (Scott Gilmour, who also co-wrote the show), who gives the audience — which is very much a part of the show — a brief rundown of what a ceilidh is before joining the band to perform ‘Welcome to this Ceilidh (The High Drive)’. But Ramsay doesn’t just have a celebration to oversee, he’s got a story to tell as well, a story about callers through history leading up to a very specific one named Leo … who happens to be Ramsay’s father. While Ramsay continues to tell the story of his father, which includes many opportunities for the audience to join in on the fun, we learn about Leo and how he met a young woman named Euna one night, and how their paths went in different directions only to converge again, with marriage and a baby soon to follow. There are other characters, such as Yvonne and Fiddles, who get married in one of the show’s more comical moments, while members of the band also portray characters of their own (sometimes more than one).
But in Act II, as Ramsay gets older the story become more heartfelt as he begins to feel the weight of carrying on the family tradition of being a caller, nervous about bringing his new love interest into the group, and realizing that his father’s aging will put the weight on his shoulders of taking over the family tradition, with the story culminating in an emotional New Year’s Eve ceilidh that literally unites the entire audience with tears and laughter and great joy. This isn’t just a show that you can sit back and relax with, it is an experience that will touch on all of your emotions while giving you, however briefly, a sense of unity which is something we can really use at this moment in time.
Matt Murphy
To say Ceilidh is brilliant is not an overstatement. The way the show is constructed by Gilmour and co-writer Claire McKenzie, interspersing the story with the dancing, giving the audience a chance to be a part of the show, is so bold and original because the way the dances are set up with their simple yet complicated steps — the ‘Strip the Willow’ dance was pure joyful chaos — means that by the end of the show almost everyone in the room (at least those who participated in the dances) has danced with everyone else so that when they link arms to join in on ‘Auld Lang Syne’, they have all had and shared an emotional experience, bringing unity to the world in that brief moment. Baltimore’s M&T Bank Exchange at the Hippodrome Theatre is the perfect setting for this show. It’s not a show that could play on the main stage or in a Broadway theatre, it’s a show that needs to be in a communal setting because the underlying theme of the show is about having a sense of community. As the promotional material for the show says, Ceilidh welcomes everyone, no matter your race, gender, sexual identity or political party affiliation. For two-and-a-half hours, you are part of a community, and it is such an uplifting experience.
The story of Ramsay and his family is also a core component and, while fictional, is still based in the writers’ reality. There are some fun bits about ceilidhs of the past, but the writing gets us firmly invested in the story of Leo and Euna, and their deep love for each other. It also introduces a new love story for Ramsay and his beau Lucas in a lovely moment when Leo catches Ramsay trying to teach Lucas some dance steps. Fearing his father’s reaction, all Leo tells him is that they are doing steps designed for a man and a woman so … they’ll just have to come up with some new ones because everyone is welcome at the ceilidh. It’s a lovely moment and it only makes what is to come for Leo all the more emotional because he is such a kind, loving and welcoming person. There is also one surprising moment that is so very funny and unexpected, when Leo and Euna first meet, that no one saw coming. These little bits and pieces of business are just bloody brilliant.
The cast of Ceilidh is also brilliant. Gilmour is utterly charming as Ramsay, leading the audience through the dances, having fun telling his story, turning on the heartfelt emotion as changes come to him and his family through the years. He commands the room wherever he is, often sitting with the audience to narrate what is happening on stage, using his wonderful voice to bring the lovely Scottish songs to life. Euan Morton is also outstanding as Leo, bringing such humor and warmth to the character, that leaves a deep emotional impact on the audience. His Leo also wears his heart on his sleeve when it comes to his Euna. Morton gives a lovely performance. Courtney Bassett is wonderful as the younger Euna, doting on Leo and their son. Emma McGlinchey is a hoot as the loud and brash Yvonne, and Charlie West is also very funny not only as Yvonne’s new husband Fiddles, but as the ancient, Viking-like original caller. Paul L. Coffey also gets laughs as Dave and Lord Buchanan, and David Rowen is charming as Lucas. A very special shout-out to Annie Grace and George Drennan for their lovely performances, listed only in the program as Older Woman and Older Man so we won’t give too much away. The rest of the cast, whether in character roles, as part of the band or both are all spectacular, often joining in on the dances with the audience, helping guide them through the steps, but also providing excellent musical accompaniment and joining their voices together in joyful song.
Matt Murphy
Going back to the script, and the direction by Tony Award winner Sam Pinkleton, this is a show that you really have to be watching and involved in because there is often something going on around the fringes of the main stage space that just adds to the experience. Do not just focus on the action in front of you; be aware of everything going on in the room. At times the show may feel completely out of control, in a good way, but through the skills of the writers, director and actors, things get quickly back on track so that the story can move forward. Adding to the atmosphere of the ceilidh is the Scenic Design by Rachel Hauck, a simple design of a wall behind the bandstand, and cute little bar areas around the space, which is festooned with string lights overhead that really adds to the party atmosphere. Isabella Byrd’s Lighting Design is simply spectacular, using changes in color to convey the emotion of a scene or show us that there is a party going on. Sarah Laux’s Costume Designs aren’t flashy and they feel authentic and lived in, really making us feel like these characters are real people in a real world. The songs, the music, fill the room and will stay with you long after the ceilidh ends.
It is a very special thing that Baltimore gets to be the premiere home for Ceilidh in the US after a run in its native Scotland. It’s important that it is happening in the space at the M&T Bank Exchange, a wide open space that allows for the dancing and the interaction, while also giving a proper theatrical experience with the lighting and sound. Ceilidh is a show that cannot, and should not, play on a traditional theatre stage. It certainly could if the point was to simply tell a story, but the show thrives on the ability to draw the audience into the action, and even if you don’t join in the dancing you will almost certainly feel yourself jump out of your seat to join the circle for ‘Auld Lang Syne’, becoming one with this little community that has been created during the show’s run time, everyone sharing the same emotional experience. The story may hit very hard for some for reasons that will become obvious as the story unfolds, but even though the sadness and tears, it all still ends on a joyful note and you can’t help but to feel completely uplifted when you leave the theatre.
It’s hard to put into words how Ceilidh is a very special show designed for very special spaces, a show that deserves to be seen by the widest audience possible, and hopefully the company will find more unique spaces like the M&T Bank Exchange all across the country — and the world — so that everyone can experience this show about community, unity and love that we all so desperately need right now.
Ceilidh runs about 2 hours 30 minutes minutes with one 15 minute intermission. This production is suitable for ages 6 and up, with mild adult humor.
Ceilidh runs through October 12 at Baltimore’s M&T Bank Exchange at the Hippodrome Theatre. Visit the official website for more information. Use our Ticketmaster link to purchase tickets.
Ceilidh – Video by Paul Maguire. Glasgow August 2024.
Ceilidh Musical
Check our Ticketmaster link for ticket availability.
