Early Bird Ticket Offer for Bard 2014!


Early Bird Ticket Offer

2014 sees Bard in the Botanics stage its most ambitious and exciting season ever to be held in Glasgow's Botanic Gardens, featuring brand new productions of:

  • The Comedy of Errors

  • Henry IV

  • Henry V

  • Hamlet


We want to make sure that as many people as possible can enjoy this summer’s performances so we’ve introduced an Early Bird Ticket Offer, with 170 tickets for The Comedy of Errors and Henry V on sale for just £5.

Our £5 tickets are currently available for the following dates:

The Comedy of Errors - Fri 27th - Sat 28th June

Thurs 3rd July

Sat 5th July

Wed 9th – Sat 12th July

Henry V - Fri 18th - Sat 19th July

Thurs 24th - Sat 26th July

Wed 30th July – Sat 2nd August

But hurry if you want to take advantage of this offer, there are only 10 tickets available at this price for each of the above dates!

You can book online through our website at www.bardinthebotanics.co.uk or ring the Citizens Theatre box office on 0141 429 0022.

And remember, this is a first-come, first-served offer – the early bird catch the £5 tickets – so don’t delay!

N.B. Our usual refund policy applies to these discounted tickets. If the performance you are booked for is cancelled, your tickets will be eligible for a refund or will be valid for any other performance of the same title.

Meet the Company - Associate Artist, Kirk Bage


What We Have Been / What We May Be Interview with Associate Artist, Kirk Bage, Kirk is one of the company's core ensemble of actors and has worked with Bard in the Botanics since our first year. Most recently he played Iago in Othello and Mark Antony in Julius Caesar.


1. When, where and what was your first encounter with Bard in the Botanics?

I auditioned for Gordon Barr for an Autumn production of The Duchess of Malfi, set in the graveyard of the Ramshorn Church, Glasgow in 2002. I believe it may have been part of the West End Festival, but I can’t be 100% on that 12 years on! (Editors Note: It was part of The Merchant City Festival in September - lovely cold weather for an outdoor performance!)  The company was then exclusively known as Glasgow Repertory Company and I remember being very impressed by everyone involved, how passionate they were about the work, and how quickly they could produce a work of such merit.  I was desperate to be part of the main Summer season and was thrilled be asked to take part the following year, with roles in Measure For Measure and Antony & Cleopatra, as well as a now semi-legendary French Soldier in Scott Palmer’s Henry V.


2. Who would you describe as an unsung hero of Bard in the Botanics?

Without a doubt, much praise is due to every member of the stage management over the years, achieving miracles, keeping us safe, dealing with tantrums, working the longest hours and generally being the most fun in the pub afterwards – but that’s going to be a popular answer.  Above all I think the unsung heroes of Bard in the Botanics are the paying public who have stayed faithful and returned year after year, despite many wet spells, to support the shows with great enthusiasm and knowledge. It’s always nice to meet a patron who can rattle a list of their favourite Bard in the Botanics productions.


3. Which individual performance by an actor has made a particularly lasting impression on you (it might be one that you saw, worked with or was in a production you were involved with)?

So many to choose from, but I have to go with the award winning performance of Stephen Clyde in A Midsummer Night’s Dream a few years ago. I went back to see the show 3 times and was blown away by the ideas and timing involved in that performance, which I think is the funniest thing I have ever seen on a stage that wasn’t a stand-up comedian! I would have felt self conscious laughing so hard if it hadn’t been for everyone else in the audience doing the same. A true poke in the eye for anyone who thinks Shakespeare has to be dry and serious. Borderline genius.


4. Of your own work, what is the most fulfilling production you’ve been a part of?

They have all been rewarding, and educational, in their own way, every one of them.  Scott Palmer’s Richard III in 2004 will always remain special to me as it was probably the first time I truly understood every word and moment in a Shakespeare play. The amazing ensemble were brave in tackling the humour head on and I felt incredibly supported and privileged  to be playing the iconic lead at such a young age. It paved the way to all future work I’ve done with the company and prepared me for all the future challenges I would face. Gordon Barr’s As You Like It from 2012 also sticks out for different reasons, as I could have played the character of Jacques all day every day (I still use the incredible All The World’s a Stage speech in a lot of auditions) and I think we painted some beautiful pictures in that play. As an all round experience though, I would have to say last season’s production of Julius Caesar, adapted and directed by Jennifer Dick; a small, super smart, super talented, hard working cast, many many challenges to bring the script to life, the challenge of the extremely hot and humid, but beautiful Kibble Palace and an audience feedback that surpasses anything else I’ve ever felt as an actor. Very special.


5. Which Bard in the Botanics production or performance did you miss that you wish you’d seen?

Everything from 2007 to 2009 really. Macbeth with Paul Cunningham, Taming of the Shrew with Jennifer Dick, etc, etc. There’ll always be part of me that regrets missing that phase of the company’s history. I also regret I could only watch Hamlet in 2011 once – I was performing simultaneously in Pericles in the Kibble Palace, but could have watched Paul Cunningham and Nicole Cooper in that production many many times.


6. Which costume (of yours or someone else’s) would you most like to have worn or is simply your favourite?

I’ve had some good ones, and also some shockers! I never particularly think I wear costumes well, so it’s not something I dwell on, but Jacques’ togs were very comfortable and like a second skin, so I’d say that of my own. But really it has to be any of the gorgeous dresses worn by the ladies in any number of shows, the sisters in King Lear and Nicole Cooper as Ophelia in Hamlet, and again in last year’s Othello, together with Jennifer Dick’s two costumes in the same play, stick most in my mind.


7. What is your favourite spot in the Botanics Gardens, known or unknown?

Outside the White House. Waiting outside there in all weathers, cloud watching, in all moods, before shows, after shows, nervous, elated, deflated, worried, proud, expectant – that spot is Bard in the Botanics for me! The plants and stuff are ok too.


8. Bard in the Botanics has staged 24 of Shakespeare’s plays. Which of the titles we haven’t yet produced are you most excited about being staged?

Richard II.  A sublime play.  I can’t wait...

Meet the Company - Associate Director, Jennifer Dick


What We Have Been / What We May Be Interview with Associate Director, Jennifer Dick

Today it's the turn of Associate Director, Jennifer Dick, to take a wander down memory lane and consider "what we have been" at Bard in the Botanics.


1. When, where and what was your first encounter with Bard in the Botanics?

Jen: The short answer is that I was an actor involved in the very first season, playing Phebe in As You Like It and Caliban in The Tempest, so I was there from the very, very beginning. Or even before then, I helped out at initial fundraisers, performing extracts of Puck and Lady Macbeth.


2. Who would you describe as an unsung hero of Bard in the Botanics?

Jen: Well, I hope that we would loudly sing the praises of everyone who works for us but I guess that in terms of the public eye, the unsung heroes would be our Stage Managers – people like Sam Ramsay, Kay Hesford, Suzy Goldberg etc. They have been an incredible and huge and important part of Bard in the Botanics but their work and their contribution isn’t always seen by the public. While our actors and our designers will get public acclaim for what they do, these are the people who don’t necessarily get the public plaudits for their work,


3. Which individual performance by an actor has made a particularly lasting impression on you (it might be one that you saw, worked with or was in a production you were involved with)?

Jen: That’s a very difficult question for me because I’ve seen lots of amazing performances but honestly where my head went to first there was Paul Cunningham as Hamlet. He was the actor I wanted to play the role from the very early stages of wanting to do the play and I thought he brought such humanity and eloquence and wit and sexiness and charisma to that part. I always remember the moment in the scene at Ophelia’s grave when he shouted “I loved Ophelia” – it got to me every time I watched it.


4. Of your own work, what is the most fulfilling production you’ve been a part of?

Jen: I’m going to answer this doubly, as both an actor and director, and oddly enough both productions were in the same season, probably because the more I work, the better at it I get. So my most fulfilling Bard in the Botanics production as a director is Julius Caesar because I think it’s my most realised work in terms of what I wanted it to be and how it turned out, which were very close. Also, because despite it being a very serious, intense piece, we laughed so hard in rehearsals – we worked really hard but we had such an amazing time and the fact that it found an audience and made such a connection with him is all you can wish for any work you create.

And as an actor, I would say playing Emilia in Othello. I felt like I got to a place in my acting that I hadn’t got to before where I felt like it was fresh and new every night. Every time that I did it I trusted it enough to let it live every night – not that it was massively different every time I did it but just that it was in the moment and it’s the first time that I felt completely in the moment throughout a whole performance.


5. Which Bard in the Botanics production or performance did you miss that you wish you’d seen?

Jen: I think there’s only 1 – no, 2 productions that I didn’t get to see. One was 2003’s Much Ado About Nothing with the wonderful Sarah Chalcroft as Beatrice which I didn’t get to see because I was in Antony & Cleopatra at the same time. And the other was The Taming of the Shrew in 2004, which starred Kirk Bage as Petruchio and Candice Edmunds as Kate (Candice, who’s now better known as Artistic Director of Vox Motus Theatre Company). I’ve heard brilliant things about both shows but I think I especially would have liked to see The Taming of the Shrew on a particular night when one actor (who shall remain nameless!) looped a scene two or possibly even three times, to the hilarity of the actors and possibly the audience too so I think I would have liked to be there to witness that.


6. Which costume (of yours or someone else’s) would you most like to have worn or is simply your favourite?

Jen: This is dead easy for me. When I was in Othello last year, I played Emilia but also the Duchess of Venice in Act One and I had a rather wonderful Elizabethan costume topped off with the most incredible red suede, full length swishy coat and, believe me, all actors will know what I mean when I say there is nothing better than a swishy coat to do swishy coat acting with. I loved that coat and actually probably it will end up finding its way in to my wardrobe.


7. What is your favourite spot in the Botanics Gardens, known or unknown?

Jen: That’s really hard because I love the Botanic Gardens – they feel like my home – but my favourite spot for performing is the space we currently use a lot which is not the most beautiful place in the gardens (it backs up against the end of a glasshouse) but you can combine in it a large audience with all the stuff that’s great about working outdoors – I feel that in that space you can really draw the audience in, even a very large audience in. My favourite spot just to be in and where I will go and eat a picnic or read a book is up at the top of the gardens, in the rose garden. There’s a little enclosed space there that’s mostly hedged off and it’s very quiet and very peaceful and a lovely place to sit and enjoy a book or some nice food from Waitrose.


8. Bard in the Botanics has staged 24 of Shakespeare’s plays. Which of the titles we haven’t yet produced are you most excited about being staged?

Jen: I’m going to say as an addendum to this that we’re working from a canon that includes 38 titles so we’re not including the disputed titles like Cardenio or Edward III. In terms of the plays we haven’t yet staged, I’m excited to see them all make their Bard in the Botanics debut but especially  Coriolanus because I love it (one of the very first speeches I ever learnt from Shakespeare was one of Volumnia’s). Richard II I also love and think is a really beautiful play. King John I only recently discovered through a production at the RSC which really split opinion but which I thought was brilliant so I’m excited to see what we do with that one. So those and many more – I can’t possibly narrow it down to one.


Meet the Glasgow theatre company - Artistic Director, Gordon Barr


What We Have Been / What We May Be Interview with Artistic Director, Gordon Barr

This is the first of a series of interviews with key Bard in the Botanics staff about their experiences of the Glasgow festival over the past 12 years - hope you enjoy revisiting some of our memories from years gone by and finding out a bit more about us all.


 1. When, where and what was your first encounter with Bard in the Botanics? 

Gordon: I was chaperoning for Scottish Opera with one of the founding members of Bard in the Botanics who told me that Scott Palmer was creating this festival so my first proper encounter with the company was helping to pour drinks at a fundraiser in the Kibble Palace at Glasgow's Botanic Gardens before the first season, which began a conversation with Scott about directing for the Glasgow theatre company and led to me being Bard’s very first Emerging Artist in 2002.


2. Who would you describe as an unsung hero of Bard in the Botanics? 

Gordon: Definitely the Stage Management team and for a very specific reason – the fact that they are the other people involved in the decision to cancel a show in the event of rain, alongside me. And me on a cancellation night is not the easiest person to be around – it’s never a decision we want to make and it’s never an easy decision to make and the Stage Management are incredibly supportive of helping to make that decision with me or, occasionally, even over-ruling me when there are safety concerns. Not an easy task and one they do brilliantly.


3. Which individual performance by an actor has made a particularly lasting impression on you (it might be one that you saw, worked with or was in a production you were involved with)?

Gordon: Oh gosh, I could say any one of about a hundred but I’m deliberately going to choose a performance from a show I didn’t direct, one which made a huge impact on me just seeing it, rather than helping to shape it and it’s Nicole Cooper as Ophelia in 2011’s Hamlet. Nicole is an incredible actor and I could have picked any of her performances – Rosalind or Viola or Helena – but it was the way that she managed to take a role that can be a bit “wet” and turn it into someone who was an equal to Hamlet and who went on her own, very sad journey, paralleling his story rather than being subservient to it. Plus, she made me cry every time I saw her play it – which is not an easy thing to do.


4. Of your own work, what is the most fulfilling production you’ve been a part of? 

Gordon: Aggghh! This is so difficult but I think I’m going to back in time a little bit for this one. I nearly answered my most recent production, Much Ado About Nothing, which was so personal to me and so joyous to create and connected so strongly to the audience, despite a central twist that could have put people off. But I’m going back to what I consider the first production of my “second phase” at Bard in the Botanics because for the first few years of running the company and directing shows, I was in a constant state of panic and I think the first time I really felt like I’d taken a show by the throat and taken it to somewhere unexpected was The Merchant of Venice in 2008. I had a brilliant cast who just wanted to dig deeper and deeper into that very complicated and thorny play and who wanted to make the characters real, even if that meant they were unlikeable and to follow me on a journey that took the play quite far away from comedy and into darker, very fulfilling territory. In fact it’s become a template for how I direct shows ever since.


5.Which Bard in the Botanics production or performance did you miss that you wish you’d seen?

Gordon: There are only 2 productions in the history of Bard in the Botanics which I never got to see, both because randomly in our early years I kept ending up on stage, despite not being an actor. One was Measure for Measure in 2003 and the other was Macbeth in 2004. Of those two, the one I definitely wish I’d seen was Macbeth because of the central pairing of David Ireland as Macbeth and Jennifer Dick as Lady Macbeth. It annoys me that I never got to see Jennifer’s Lady Macbeth because she is an incredibly powerful actor (as well as a brilliant director) and I’m sure it was an amazing performance. Also, David Ireland has always been a favourite actor of mine, even though he is now principally a playwright (and a fantastic one too) so I wish I had seen those two playing those particular roles.


 6. Which costume (of yours or someone else’s) would you most like to have worn or is simply your favourite? 

Gordon: This is another nightmare question for me because I love costume. Everyone who knows me knows that I’m obsessed with costumes, especially trying them on if I’m ever left alone in the wardrobe room – which I’m not allowed to do anymore. And our current costume designer, Carys Hobbs, has come up with so many amazing costumes in her time with Bard in the Botanics but I’m going to go for a real blast from the past here with what might have been the first costume ever made for Bard in the Botanics – Lavinia’s costume in Kabuki-Titus (a Kabuki theatre version of Titus Andronicus). It was a beautiful white kimono with incredible feather details and these red gloves that had hundreds of red ribbons sewn on to them so that when Lavinia loses her hands, the actor, Johanne Scoular, could throw her arms wide and these ribbons would pour out. It was stunning visual image, especially at 11.30 p.m. at night in the Kibble Palace where that show first played.


 7. What is your favourite spot in the Botanics Gardens, known or unknown? 

Gordon: I’m going to cheat a little bit on the answer to this. I will include a spot in the gardens as my answer but what makes this spot special is the particular time when I’m there. It’s the main path of the Botanic Gardens but especially being on that path at the end of the season, after the very last performance, when all the actors have headed over to Oran Mor for a celebratory pint and even the stage management have finished and left. So I’ll often be the last person to leave the Botanic Gardens and I love to stand on the path, in the pitch black since it’s usually about midnight, and have a quiet moment to reflect on the season and what we’ve achieved – and often the resident fox will pop out to say goodbye. It’s always a special moment.


8. Bard in the Botanics has staged 24 of Shakespeare’s plays. Which of the titles we haven’t yet produced are you most excited about being staged? 

Gordon: I’m slightly wary about answering this question because, as Artistic Director, it slightly implies that my choice will happen soon which it may not – there are lots of factors involved in choosing when a play gets staged at Bard in the Botanics. But that said there is one title I’ve been saying I’ll do for about the past 10 years which is Love’s Labours Lost. I think the final scene of that play is one of the most beautiful pieces of writing he ever created – the shock of what happens in that scene always chokes me up. And it’s a perfect outdoor show – it’s set outdoors – the Botanic Gardens are an ideal setting for it. I just need to work out how to afford the ensemble cast of 18 it requires!

"What We May Be" in Summer: our Glasgow festival 2014

How do we choose which plays to do and when to do them? Well, we don’t have a big Shakespeare Wall-chart in the office on which we slowly check the plays off with a satisfying Sharpie tick, although come to think of it that might be fun. Of course, one of our goals is eventually to have performed all of Shakespeare’s plays, but programming is not an exact science and every decision is influenced by many factors, some of them artistic, some of them pragmatic. Take this year for instance. We talked about what we wanted to do, what hadn’t we done in a while, what had we never done, what does the audience want, how can we balance giving the audience what they want with giving them something new and challenging, what plays work together as a season and so on. Casting is a massive part of programming too. So is location. We are, after all, mainly an outdoor theatre company.

And which comes first, the programme or the theme? That is definitely a chicken and egg question, but mostly we find that, having chosen a programme of plays that feels right, the theme emerges organically. The plays feel right together for us because they do share common threads.

Try as we might we couldn’t force a theme that connected directly with the Commonwealth Games, an event that will draw large numbers of visitors to our city during the period we perform. Believe it or not one of us was actually heard to speak the phrase “Shakespeare just isn’t very commonwealthy!” But when we thought about the other major event preoccupying our nation this year, our season’s theme seemed obvious.

Our plays this summer all investigate identity, nationality & leadership at a time when these issues will be at the forefront of Scottish life. Which, when you think about it, is a theme that isn’t just about the Independence Referendum, but is about the Commonwealth Games too. It’s about who we are and what we are, as people, as communities, as countries.

How does a person, a community, a nation define their identity? What are the costs and compromises a person or a nation has to make to define or defend that identity? What should government and leadership look like? What should we demand of our leaders and of ourselves?

So there you have it. That’s what we are doing this year. Did you notice how I didn’t tell you what any of the plays are?

“Lord, we know what we are, but know not what we may be.” (Hamlet, Act 4; Scene 5)

Romeo and Juliet tour dates announced - Autumn 2013


Bard in the Botanics are delighted to announce details of our first Autumn tour. 2012’s sell-out production of Shakespeare’s classic tale, “Romeo and Juliet”, will be touring venues in September and October 2013, directed again by Artistic Director, Gordon Barr.

“These violent delights have violent ends And in their triumph die, like fire and powder, Which as they kiss consume”

An ancient feud between the Capulets and Montagues rips apart the city of Verona. A young generation, caught up in its violence and hatred, perpetuates a situation over which they have no control. When Romeo and Juliet, children of the two mortal enemies, meet and fall passionately in love, they set in motion a chain of events that will destroy not only themselves but many of their friends. Acclaimed by audiences and critics alike, this 5-star production retells Shakespeare’s enduring story through the eyes of a younger generation betrayed by their elders and struggling to make sense of their emotions in a world they haven’t created. Following his acclaimed performance as Bertram in this summer’s “Much Ado About Nothing”, Robert Elkin returns as Benvolio alongside original cast members Stephanie McGregor as Juliet and Luke McConnell as Mercutio.

Press Quotes for Romeo and Juliet:

The Herald - ***** “has a violently youthful relevance for a new generation of 16 year-olds. See it outside or inside, but just see it”

The Scotsman - **** “full of wit and understanding….in Glasgow, of all cities, this is a tale that never seems out of date”

Stv.com – “An excellent take on the Bard’s tale…filled with all the flaming passions of youth”

Audience response:

“Professional, sexy, beautifully delivered by all concerned – Romeo and Juliet is a MUST”

“Another unbelievable performance, loved every minute”

“one of the best performances of the play I have seen…The cast were amazing”


The Changing House at the Tron Theatre Wed 25th, Thurs 26th, Fri 27th & Sat 28th September @ 8 p.m. Thurs 26th September @ 1.30 p.m. Fri 27th September @ 10.30 a.m. Box Office – 0141 552 4267 Online Booking – www.tron.co.uk/whatson/

Eastwood Park Theatre, Giffnock Tues 1st October @ 1 p.m. Tues 1st October @ 7.30 p.m. Box Office – 0141 577 4956 Online booking – www.eastwoodparktheatre.co.uk/boxoffice

Beacon Arts Centre, Greenock Fri 4th October @ 7.30 p.m. Box Office – 01475 723723 Online booking – www.beaconartscentre.co.uk

Summerhall, Edinburgh Tues 8th, Wed 9th & Thurs 10th October – time t.b.c. Box Office details t.b.c.

East Kilbride Arts Centre Fri 11th October @ 8 p.m. Box Office – 01355 261000 Online booking – www.sllcboxoffice.co.uk

Please note – tickets are not yet on sale for our dates at the Beacon Arts Centre and Summerhall but we will let you know as soon as they are.

Bard in the Botanics Fundraising Dinner & Auction welcomes much loved Harry Benson Dolly Parton portrait

  Excitement is building and preparations are coming to an end for the fabulous Bard in the Botanics Fundraising Dinner and Auction taking place at Oran Mor on Thursday April 18th.


Following a difficult season in 2012 due to the consistently bad weather, we’re planning to return to our beloved Botanic Gardens and Kibble Palace in the West End of Glasgow this summer with a full programme of creative performances and events to delight our faithful audiences and hopefully encourage newcomers to explore Shakespeare in laid back surroundings.


Hosted by Kaye Adams - herself a keen supporter of Bard in the Botanics - the spectacular evening will include a Champagne reception, sumptuous three course meal, pop up Shakespeare performances, a fantastic auction offering many money can’t buy lots, and a raffle competition offering an impressive haul of valuable prizes. We’ve been overwhelmed by the generosity of sponsors and those businesses that donated raffle prizes, and as we’re sure you’ll agree, it’s shaping up to be quite an evening!


To whet your appetite, we’ve compiled a brief summary some of the lots available to bid upon.


1. ‘Dolly Parton, Nashville, 1976’

The black and white Fibre-based, archival print is signed titled and dated by Harry Benson.

Glasgow-born Harry Benson’s photographic career has spanned 60 years, and during this time he has covered a range of subjects unequalled among his peers. From portraits of world leaders including eleven US presidents to film stars and celebrities; Benson has captured the major events and iconic moments of our time ranging from the American Civil Rights Movement and 9/11 to the fighting in Bosnia and the Gulf War. His work has appeared in Life magazine, Vanity Fair, GQ, the New Yorker, Time, Newsweek and People.


He has had over 40 one man exhibitions including two in his home country, at the National Galleries of Scotland, and at Kelvingrove; has twice been named photographer of the year by the National Press Photographers Association of America, and received a Lifetime achievement award from the Scottish Press Association. Widely recognised as one the UK’s most eminent and highly respected artists, Benson has published 16 books and has received numerous honours including a CBE,  a Fellowship of the Royal Photographic Society in London, and was given the first honorary degree awarded by Glasgow School of Art.

This is an amazing opportunity to own a Harry Benson work.

Paper size 17 x 22 inches. (gallery price in New York $ 5000.00)


2.  All Aboard the EOS! Day out for up to 6 people on one of the fastest racing yachts on the Clyde.

Eos is a 40 foot Elan 410 skippered by Rod Stuart. After a short safety briefing from Rod at James Watt dock, the group will enjoy a morning sail to Cove Hotel where a delicious lunch will be served ashore before hopping back on board Eos to return at around 4pm. By arrangement you can sail almost any weekday or a choice of 4 weekend dates

If you are at all faint hearted about taking to the water…this is a great chance to do it with confidence. Rod Stuart has sailed the Atlantic single-handed. With a name like that what would you expect?


3. A signed Andy Murray tennis shirt


For all sporting aficionados, this t-shirt is quite simply a piece of tennis history, worn and signed by the most successful Scottish, and arguably British tennis player of all time…the World Number Two. Having collaborated in the design with sponsor Fred Perry, Andy Murray debuted this tennis shirt at the 2009 Wimbledon, the season we all started to believe that Murray could win a grand slam title.


4.  Pre-theatre drinks party for 10 in the Kibble Palace and tickets to a Bard in the Botanics performance


In the words of the Bard “this garden has a world of pleasures in it” and in the Botanics here in the West end of Glasgow, the stunning Kibble Palace - recently refurbished to its former glory - is certainly one of the most captivating. This is a chance to entertain and treat friends to a private party among spectacular surroundings before enjoying the pleasures of a Shakespeare performance indoors in the Kibble (or outdoors if you are confident that we cannot have a repeat of last summer!)


5. Limited edition bottle of 20 year old single malt Scotch whisky

A real collector’s item, this whisky from the Allt-a-Bhainne Distillery was made especially for the Gurkhas. Distilled from one cask and in the traditional style with “no chill filtration”, the malt is offered “in its full and redolent glory” at a strength of 50% alc vol. Only 298 bottles of this whisky exist and this is a rare opportunity to obtain one.


6. Bottle of 12 year old Laphroaig with 6 whisky glasses donated by Prince Charles.

Need we say more?!


We’re thoroughly looking forward to enjoying a fabulous meal and spending the evening in the company of Kaye Adams, the cast of performance actors, and valued supporters of the Bard in the Botanics. There are still a few tickets available, so if you would like to join us on the evening, please email admin@bardinthebotanics.org or call +44 (141) 334 9016 - you’d be more than welcome!



KEYWORDS/TAGS (Separated by Commas)


Bard in the Botanics, charity event, Scottish Arts, Kaye Adams, Oran Mor Glasgow, event, Glasgow dinner event, Shakespeare, performance art, theatre, auction, Dolly Parton, Harry Benson, Andy Murray

Sell-out "Romeo and Juliet" gets extra performances!


Our scheduled performances of Romeo and Juliet have completely sold out so we have added 6 extra performances - Saturday 21st July and Tuesday 24th July - Saturday 28th July inclusive. Don't miss out on your chance to see this 5-star show that critics have called "a tale that never seems out of date" and that audiences have described as "absolutely brilliant" and "professional, sexy, beautifully delivered by all concerned - Romeo and Juliet is a MUST......many thanks for an outstanding performance"

These additional performances will take place inside the Kibble Palace Glasshouse and shouldn't be affected by weather conditions so book now on 0141 429 0022 or online at www.bardinthebotanics.co.uk