Skip to main content

Kirsty Findlay – Hot 100 2024 Number 7

When Kirsty Findlay finishes up playing the lead role in The Sound of Music at Pitlochry Festival Theatre at the end of December, it will be the end of a very special year for the Glasgow based actress. Prior to becoming the solution to the problem of Maria, Findlay appeared in three Pitlochry productions over the Perthshire theatre’s  summer season.

 While Findlay shone in both Sense and Sensibility as Elinor, and as small town bad girl Ariel in Footloose, it was her magnificent embodiment of singer/songwriter Carole King in Beautiful that showed off Findlay’s full range as actress, singer and musician. Findlay was on stage throughout in Sam Hardie’s production of Douglas McGrath’s play, and despite playing piano in front of an audience for the first time ever, rarely has an actor looked so at ease with what she was doing in a bravura performance that might just be the best of the year.

 

I never thought in a million years I would get to do all the shows I’ve done over a season,’ Findlay says, catching her breath inbetween Sound of Music rehearsals, ‘but doing Beautiful and The Sound of Music back to back is just a total dream. Beautiful was just one of those shows where it felt like the stars aligned. I’m the right age and I've got the right type of voice to be able to sing Carole King, but I never thought I’d get it.’

 

Beautiful’s title song has an extra resonance for Findlay, whose singer mum and drummer dad played in a band on the club circuit. Findlay’s mum even appeared on 1970s and 1980s TV talent show New Faces.

 

‘She sang Beautiful on TV,’ a proud Findlay recalls. ‘She’s retired now, but she’s this incredible singer. We sound quite different, but when I first learned that I’d got that part, because that specific song means so much to me, it was this huge full circle moment. The fact that it was the final song in the show, and that my mum had sang it, it was just pure magic.’

 

Kirsty Findlay appears in The Sound of Music, Pitlochry Festival Theatre until 22ndDecember.


The List, December 2024

 

ends

 

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

The Passage – Hip Rebel Degenerates: Black, White and Red All Over

Prelude – The Power of Three   Fear. Power. Love. This life-and-death (un)holy trinity was the driving force and raisons d’être of The Passage, the still largely unsung Manchester band sired in what we now call the post-punk era, and who between 1978 and 1983 released four albums and a handful of singles.    Led primarily by composer Dick Witts, The Passage bridged the divide between contemporary classical composition and electronic pop as much as between the personal and the political. In the oppositional hotbed of Margaret Thatcher’s first landslide, The Passage fused agit-prop and angst, and released a song called Troops Out as a single. The song offered unequivocal support for withdrawing British troops from Northern Ireland.    They wrote Anderton’s Hall, about Greater Manchester’s born again right wing police chief, James Anderton, and, on Dark Times, rubbed Brechtian polemic up against dancefloor hedonism. On XOYO, their most commercial and potentially mo...