Skip to main content

The Tommy Burns Story

King’s Theatre, Glasgow

Four stars

 

The football season may theoretically be over for the summer, but as diehard fans know in their bones, it never really ends. With this in mind, this latest and apparently final run of Davie Carswell’s loving homage to one of Celtic Football Club’s greatest heroes, whose life was so cruelly cut short by skin cancer in 2008 aged just 51, could probably be seen as either a pre season warm-up. 

 

And what a match Carswell and director Adam Felix O’brien have knitted together. Burns is brought to life by way of a series of dramatised anecdotes that make up the story of a man who came up from Glasgow’s Calton district to become a top-flight player and manager of the team that was already in his blood. As the play makes clear too, Burns never forgot his own description of himself as ‘a supporter who got lucky.’

 

Football may be at the play’s centre, but Carswell’s script focuses on the man beyond, be it as husband, father, devout Catholic and, in the eyes of many, a real life saviour. Standing forever beside the love of his life Rosemary, we see Burns as hopeless at housework as he is nimble on the dancefloor. He moves from living room to chapel with an easy humour and a common touch that translated readily to the millions of fans who put their faith in him, knowing he was one of them. 

 

As embodied by Liam Harkins, Burns here is possessed with heroism and humility, kept on an even keel by Rosemary, played with just as much heart by Sarah-Louise Greer. James McAnerney, Ruairidh Forde and Tom Carter double up as assorted interviewers, priests and a green clad chorus who mark the passing of time with comic banter. 

 

With Burns’ son Michael as executive producer on the show, both he, his siblings and their now sadly late mother are shown interviewed on film. The result is as much family album as theatre in a show that brings the audience together to pay tribute in an act of mutual devotion to their hero that ensures his memory will live forever.


The Herald, July 14th 2025

 

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...