Review – The High Life: The Musical  – King’s Theatre, Glasgow

Some revivals coast on nostalgia alone. Thankfully, The High Life: The Musical aims far higher. Bursting onto the stage with flamboyant energy and gloriously anarchic humour, this long awaited return to the world of Air Scotia celebrates its cult roots while confidently transforming television comedy into full blown musical spectacle.

Much like the original television series, the show opens in the crew room, immediately recreating the familiar atmosphere that longtime fans will recognise. A handful of jokes from the original series are even reused, something cleverly acknowledged by Alan Cumming himself in a self-aware nod to the audience. As the story unfolds, audiences are warmly reintroduced to beloved characters such as Shona Spurtle (Siobhan Redmond) and the endlessly entertaining Captain Hilary Duff (Patrick Ryecart). At the centre of it all are Steve and Sebastian, whose gloriously chaotic partnership reminds audiences exactly why Alan Cumming and Forbes Masson remain such an extraordinary double act. Their comic chemistry is undeniable, keeping audiences firmly in the palms of their hands from start to finish.

Alongside the returning cast is a strong ensemble of new supporting characters. Scottish royalty Louise McCarthy proves a welcome addition as Heather Argyll, fitting hilariously and effortlessly into the world of Air Scotia as though she has always belonged there. Rachel Kendall Brown shines as Kylie, one of Air Scotia’s newest flight attendants: a confident, Labubu charm sporting Gen Z lesbian who constantly reminds Steve and Sebastian just how “delulu” they are while correcting their outdated language and attitudes. Kyle Gardner is another standout addition, stealing scene after scene as Mylie, Air Scotia’s dorky new intern.

At the heart of the story lies the threat of Air Scotia being shut down and rebranded as “Air GB” under the leadership of the company’s new CEO, Fran Footer. The rebrand serves as one of several politically loaded gags threaded throughout the script, with Alan Cumming wearing his political convictions firmly on his sleeve. The result is comedy that feels sharp, timely and knowingly provocative while preserving the satire of the original series.

The show wholeheartedly embraces a pantomime inspired style, breaking the fourth wall and thriving on lively audience interaction that keeps the atmosphere playful and knowingly self-aware throughout. One of the evening’s highlights sees audiences invited to join in singing the Air Scotia company song, made all the more special by a cameo from Ann Scott-Jones as Gretchen Betjeman, reprising the character who first introduced the song back in 1994. Such theatrical mischief feels entirely fitting under the pen of Johnny McKnight, widely described as ‘the new vanguard of pantomime’. Special mention must also go to Ross Baxter, Ciara Flynn, Grant McIntyre and Lauren Ellis-Steele, whose small yet mighty ensemble work adds tremendous value to the production. Their seamless transitions between costumes and characters create the convincing illusion of a far larger cast.

Ultimately, The High Life: The Musical does far more than simply trade on nostalgia. Packed with camp spectacle, sharp satire, musical flair and affection for its cult origins, the production successfully transports Air Scotia into a new theatrical era while retaining the anarchic spirit that audiences cherish. While the cast impresses across the board, Kyle Gardner emerges as the evening’s standout performer, though closely followed by Patrick Ryecart’s hilariously scene stealing Captain Hilary Duff.  This is a production bursting with joy, theatrical confidence and first class Scottish comedy. Fans old and new alike are likely to leave the theatre ready to board Air Scotia all over again.

*****     Five Stars