Glas­gow Girls, King’s The­atre, Glas­gow Jan­uary 15 to Jan­uary 19; tour­ing

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Since de­but­ing in 2012, Cora Bis­sett and David Greig’s Glas­gow Girls has taken on sharper sig­nif­i­cance with each run, in terms of ev­ery­thing from mi­gra­tion, global pol­i­tics and the rights and re­silience of teenage girls.

This lat­est tour of Scot­land’s big­gest the­atres comes at a time when rhetoric on mi­gra­tion from the UK’s Home Sec­re­tary seems only to serve an alarm­ingly en­livened hard right.

It was Lind­say Hill’s award-win­ning BBC Scot­land 2006 doc­u­men­tary Tales From The Edge that first told the story of the seven teenagers from Drum­chapel and how their lives changed for­ever in 2005 when their school friend and her asy­lum-seek­ing fam­ily were forcibly taken from their home to be de­ported. As more of their fel­low pupils at Drum­chapel High were hauled into the street in their py­ja­mas, the Glas­gow Girls, as they be­came known, took a stand to fight for their friend’s rights, and the rights of all chil­dren of asy­lum seek­ers. The­atre-maker Cora Bis­sett felt their story should be told as a mu­si­cal.

“It was the girls’ en­ergy and can-do spirit that made me feel this story should be sung,” she says. “It was a cel­e­bra­tion of sol­i­dar­ity, of a group of teenage girls re­al­is­ing they could af­fect the world they live in, a cel­e­bra­tion of a city I love deeply, and of those peo­ple in it.”

The more it tours, the more Glas­gow Girls con­nects with peo­ple, its sell-out run at the 800-ca­pac­ity As­sem­bly Rooms mak­ing it the big­gest-sell­ing show at the Ed­in­burgh Fes­ti­val Fringe in 2016.

Now it re­turns with the 2016 cast and a full live band for dates in Glas­gow, Ed­in­burgh’s King’s The­atre (Jan 23-26), Perth The­atre (Jan 30-Feb 3) and In­ver­ness Eden Court (Feb 7 to 9) be­fore vis­it­ing Dublin.

“When I first was drawn to the story of the Glas­gow Girls, I had no idea that the mat­ter of refugees and asy­lum seek­ers in the world would tran­spire to be­come the most ur­gent and pre­scient ques­tion of our times,” Bis­sett says. “Ev­ery time we bring the show back out, it feels as though it is speak­ing to a very

par­tic­u­lar mo­ment.”

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