(4 / 5)
Please be aware, the content of this review reflects the adult nature of the play.
The interview excerpts of Sir Matthew Bourne are copyright New Adventures Production.
If I have inadvertently used any other copyrighted material, please let me know – I shall be happy to acknowledge the owner or remove.
Matthew Bourne’s ballet, “Cinderella” is currently playing at the WMC until 7th April.
It provides a scintillating experience of creative development of a familiar story. Set in the London Blitz of WW2, this is not a gimmick, but a version that works on every level.
Cinderella is pretty much as you would expect, wicked step-sisters in tow, but there is no Fairy Godmother. Instead you have a male character called The Angel who guides Cinderella for good and bad in order that she fulfills her destiny.
Instead of a handsome prince, you have Harry the Pilot. The RAF, recent victors in spoiling the Luftwaffe’s attempt to pave the way for the Nazi invasion of Britain, were the glamour boys of the Armed Forces. Actually. they were known as The Brylcreem Boys due to the way they used the cream to obtain a smooth look with hair in total control.
The Ball scene, is re-invented in the real life venue of the Cafe de Paris, which was a venue where chic young people met and danced the night away, irrespective of whether there was a air-raid being enacted overhead. On the 8th March 1941, the club received a direct hit, killing and wounding over a hundred people.
The dancing is as polished as you would expect from a Matthew Bourne work. He is the director and choreographer and together with his lighting designer Neil Austin and set and costume designer Lez Brotherston, conjour up a magical two and a half hour show of countless memorable visual delights.
Music is recorded, but played by a specially commissioned orchestra, over 80-strong, named the Cinderella Orchestra, and it is played in Sensurround which makes you feel that they are present.
Prokofiev’s music is delightful and all the sums add up to a wonderful work of creativity.
Irrespective of whether you like ballet or classical music, there is enough theatricality in this show to last you a very long time, and I unreservedly recommend it.
Photographs by Keiran Cudlip
All But Gone is the second production of the Lovesick season at The Other Room in Cardiff. It marks the debut direction of the Other Room’s new artistic director Dan Jones, and if this astonishing show is anything to go by, it will make this venue, not only one of the most exciting in Cardiff but in Wales as a whole.
For a fringe venue to put on a new play by established playwright Matthew Trevannion of this quality is an outstanding achievement.
The action begins with Kai, (played by newcomer Callum Hymers with great emotional control for a young actor), burgling pensioner Owen’s house. Owen who had previously noticed Kai acting suspiciously at a neighbour’s premises is waiting for him – shotgun pointed at the intruder. After putting the Fear of God into him, Owen slowly reveals a sympathetic side, and realising that Kai is famished, offers a sandich and sends him on his way. But not before Howell, (Daniel Graham who brilliantly plays the character alternating between gentleness, manic antics and uncontrolled rage) enters the scene from upstairs and recites a soulful passage of poetry. However, he appears not to notice kai before returning to where he came from.
In fact, only Owen interacts with Kai throughout the entire play, even though he is often present in scenes with the other characters.
This puzzling question is the beginning of what becomes a highly complex play. If Kai isn’t actually a person then hat is her and what does he represent?
Does the illegal entry through the kitchen window, mirrored in the final scene by Howell represent an intrusion into Owen’s impaired memory . As the play develops, it becomes obvious that the action takes place with Owen as a younger man and where he is now. But how reliable is his memory for he seems to be undertaking a decline of his mental facilities and entering a state of senile dementia?
The other characters are also marvelously observed. Nicola Reynolds plays Olwyn, matriarchal head of the family where Owen is living. She plays the archetypal Welsh Mam to a tee and has the funniest lines. There is a lot of humour in this play despite its poignant subject matter.
Her daughter Bev, (Erin Phillips) is a kindhearted Welsh girl of the kind we all know and love. Her brother is Howell who has already been introduced.
Everyone in this production seems tailor-made for the characters they portray which is a testament to their acting abilities. A special mention has to go to Wyn Bowen Harries, a veteran actor on the Welsh TV and theatre scene. His control, especially vocally is superb and you can’t help looking at his character sympathetically.
The play touches upon a number of themes as well as dementia – confused sexuality and lost opportunity.
The set design is perfect for a small space. A table and kitchen unit wwith window back centre and stairs leading upwards. A porch and outer door lead to the street. Carl Davies miraculously manages to make the set appear much larger than it actually is.
Joe Fletcher’s lighting provides scenes of great intimacy.
In fact, this is a flawless production, and if I could, I would be awarding it four and a half stars out of five.
This is a truly thought provoking play about a thought disintegrating subject matter. This production deserves a transfer to a larger venue after it ends its run here.
Due to the strong language throughout, and adult scenes and subject matter, this play is for mature audiences only. It runs at The Other Room in Cardiff until 14th April and I would urge you to view it.
Please follow the link below to check ticket availability.
Image credit Kirsten McTernan(4 / 5)
“When each of you in this room were born, there were 6,000 languages spoken on the planet. Now, a language is not just a body of vocabulary or a set of grammatical rules. A language is a flash of the human spirit. It’s a vehicle through which the soul of each particular culture comes into the material world. Every language is an old-growth forest of the mind, a watershed, a thought, an ecosystem of spiritual possibilities”.
So says my friend Wade Davis in a TED speech in Monterey in 2003.
This premise is largely what drives the excellent Theatr Gwalia’s “Inheriting Gods” that has now finished its short run at Chapter in Cardiff.
Writer C.M. Stephens links the Wampanoag language to the Welsh by interacting a Valleys tourist Rhiannon, and an indigenous descendant, English name Shaw, within a Cape Cod setting. Once they sort out their national identity, they find that they have an awful lot in common. In finding out about each other’s language and culture, they reach a state of transcendence where they discover their own.
Playwright C. M. Stephens
Both my paternal and maternal lines originate in Somerset. My Barrington line found themselves in Brecon in the 1870’s and remained for the next one hundred and twenty five years. Why Brecon? Well my great great grandmother, was a typical female Welsh export at this time, a servant in Weston Super Mare. She came from Llanspyddid outside Brecon and this obviously prompted their emigration. My mother’s family landed up in Cardiff in the 1890’s.
Inevitably, both families married Welsh folk so I have the usual Davies, Williams and Powell lines on my family tree. When examining the 1901 Census, my great grandfather, James Davies is recorded as a Welsh speaker., but like so many families, this was not passed down to his children. Brecon, being located close to the English border is not a particularly Welsh speaking town and despite learning the language in school for many years without distinction, I now know only a basic number of Welsh words, but am unable to string sentences together. This mirrors Rhiannon in the story.
Shaw a descendant of the indigenous people has been Americanised. Cape Cod, where most of the action takes place has a large Wampanoag settlement at Mashpee. Other reservations are found on Martha’s Vineyard. In fact, each year, a powwow takes place, a weekend of dancing, drumming and musical performances celebrating the People of the First Light. This year, the three day festival starts on 6th July. I guess it is the Wampanoag equivalent of our Eisteddfod.
The Wampanoag language is unusual in that it was, at one time extinct, but has been revived since the 1990’s. Even more so than Welsh, it struggles to survive being immersed within the English speaking communities. Also, like Welsh, it has its own varied culture and way of life.
The play touches upon many subjects besides language loss. The Wampanoag were the people who greeted the Pilgrim Fathers at Plymouth Rock on November 11th 1620. Ms Medway-Stephens makes the point that I used to debate with my Chinese students in their American Literature class when studying William Bradford’s controversial contemporary account. The point being that each year American’s celebrate the fact that the good earth provides nourishment on Thanksgiving Day, whilst simultaneously and mostly unintentionally, wiping the faces of the indigenous people’s whose land they stole in the same soil.
Of course there is a common denominator in that both races were exploited by the dreaded English, another point the writer is anxious to make. To be fair to our neighbours over the other side of Offa’s Dyke, it as not only the English who colonised America, as the ill-fated Darien Scheme instigated by the King of Scotland clearly shows. I’m sure us Welsh did our bit – well Patagonia springs to mind.
The name Rhiannon, the Horse Goddess of that great work of Welsh literature, the Mabinogion is also brought into the narrative. There is also much attention paid to Shaw’s anglicised name.
Then there are the Welsh politicians who went on hunger strike to successfully plead the case of having a Welsh language television station.
The burning question to be addressed may be an uncomfortable one for us Anglo-Welsh. That is, how Welsh can you actually be without speaking the language of your nation; without reading its literary heritage in its mother-tongue; without singing the beautiful songs that have been passed down over the ages?
If there is a more important Welsh play in the English language written in this or any other year, I would very much like to see it.
My only criticism is that I feel it is under-developed as it stands. Lasting only sixty five minutes, the issues and others not mentioned here, don’t get sufficient time to be explored fully. I recall seeing Robert Lepage’s seminal play, “The Seven Streams of the River Ota” in both it’s workshop production and its triumphant seven and a half hour epic presentation at the National Theatre a couple of years later. I can see “Inheriting Gods” developing in a similar way. By having twenty to thirty minute vignettes exploring the issues referred to for both the Welsh and Wampanoag themes bound together by the central premise.
The two characters played by Saran Morgan and Charlie Jobe are both likeable. Scenes are divided by videos and photographs of both Cape Cod and Wales. Accompanied by an assortment of songs in both English and Welsh, I think this worked really well. The set seems to be some kind of stockade, although it may represent the reservation or even the traditional architecture of Wampanoag huts.
The play has now ended its short run, but I hope to see it re-emerge, perhaps somewhere along the lines I have suggested here.
Finally, to slightly change one of the central anthropological questions, what it is to be human and alive. Carmen Medway-Stephens poses the question, what it is to be Welsh and alive.
More information about the Wampanoag People