McKenzie and Gilmour first explored the idea during the Glasgow Commonwealth Games, when they created a 10-minute operatic piece at Sloans, the city’s oldest pub (and host of a legendary weekly ceilidh). The energy of that trial run lit the spark. “We realized the structure of a ceilidh already had this built-in rhythm,” Gilmour recalls. “There’s a natural rise and fall—moments for high energy and space for breath—and that gave us a dramatic arc to work with.”

The show plays with this balance throughout. At any moment, you might find yourself clapping, toasting, or even being gently invited to dance. But you’ll also be witnessing the kind of deeply human storytelling that musical theatre does best.

“We want the audience to make the night what they want it to be,” says McKenzie. “You can sit back and take it all in, or jump in and join the dancing—it’s entirely up to you.”

A hallmark of Ceilidh is its ensemble of multi-talented actor-musicians who sing, dance, and play live instruments. The cast includes Scottish performers steeped in traditional folk traditions, often learning tunes by ear and sharing slightly different regional versions. “That kind of folk session vibe is something we wanted to keep alive in the show,” McKenzie says. “It’s not about strict perfection—it’s about passing music from person to person, and letting the story live in the room.”

That spirit extends to the staging. Rather than traditional proscenium theatres, the production seeks out flexible, immersive venues—like the M&T Bank Exchange in Baltimore, a converted city bank. The creative team hopes to bring Ceilidh to more nontraditional spaces across the U.S.,

“It’s not a show about a ceilidh. It is a ceilidh,” Gilmour says. “And it only really works if the audience shows up ready to be part of it—even if they don’t know it yet.”

While Brigadoon may be the most familiar theatrical reference point for American audiences, Ceilidh is something altogether different. It’s a living, breathing expression of Scottish tradition—not a nostalgic fantasy, but a story rooted in the present.

That authenticity, however, doesn’t mean the show is only for those with Scottish roots. Quite the opposite.

“All cultures gather around music and dance,” Gilmour notes. “We just happen to be telling the Scottish version. But the feeling—that spark of community—that’s universal.”

McKenzie agrees. “We’ve had people from all walks of life come to workshops—newborn babies, grandmothers clapping, and folks who’ve never heard of a ceilidh joining in the Virginia Reel!”

So whether you know your Strip the Willow from your Dashing White Sergeant—or you just like a good night out with music, stories, and connection—Ceilidh might be the most memorable party you’ve ever been invited to.

Ceilidh opens Sept 6th in Baltimore, MD with plans to tour the US and also perform at National Trust For Scotland properties in the coming year. Don’t miss it!