Barnum at Wales Millennium Centre, Cardiff
Book by Mark Bramble
Lyrics: Michael Stewart
Music: Cy Coleman
Reviewer: Barbara Michaels
Rating: 4.5
Jugglers, acrobats, gymnasts et al entertain as the audience takes their seats – latecomers miss a treat. Spectacle and excitement with dazzling displays of circus expertise – Barnum has them all. Based on the life of American showman Phineas Taylor (PT) Barnum who took his team of trapeze artists clowns, jugglers plus talented performers such as the singer Jenny Lind all over America and the major cities of the world, this is musical theatre traditional style given a new fillip by Cameron Mackintosh in this Chichester Festival Theatre production.
All the elements of the original Broadway production are here, but for those who were fortunate (or are old enough!) to have seen the production starring Michael Crawford which ran for a record-breaking 655 performances at the London Palladium after it opened in 1981, the big question must be: Does Brian Conley who is playing the demanding and exhausting role of showman PT Barnum live up to the almost-impossibly-high standard created by Crawford?
The answer has to be: Yes! Yes! And Yes! Conley’s Barnum is a likeable con man who could charm monkeys off trees – and does. Though when he forsakes his long-suffering wife Chairy, whose views differ radically from his as to what is right and what is not, siding with him becomes momentarily difficult. Even here, how can you feel anything but gut-wrenching suspense for a man who walks a tightrope to get to the temptation awaiting him on the other side in the shape of a delectable Swedish opera singer?? Metaphorically speaking, you say? No – in a daring act which took weeks to perfect, Conley actually does walk the tightrope. Indeed, throughout the show, along with the rest of the cast, he runs the gamut of acrobatic and dance skills with aplomb and style.
The bubbly Linzi Hateley more than holds her own as Chairy, the wife who despite brooking none of her circus-loving hubby’s nonsense, remains true to him till the end. The story of their marriage, with all its ups and downs, runs in perfect tandem with the on-going razzmatazz of the show, peppered with songs such as the foot-tapping ‘Come Follow the Band’ which opens Act I and Barnum’s theme song of ‘There Is A Sucker Born Ev’ry Minute’ plus the poignancy of ‘The Colors of My Life’ sung with feeling by Conley and Hateley, as is ‘So Little Time’ later, in Act II. If there is a criticism to be made – and in such a polished production it seems almost invidious to do so – it is that Kimberly Blake as opera star Jenny Lind, while looking stunning and ethereal in an ice blue creation that would not look out of place at the Oscars, is a tad too ethereal. The lack of chemistry between her and Barnum renders their love affair not entirely believable – a minor hiccup in an otherwise five star production.
A considerable chunk of credit for the fizzing excitement that characterises this high-energy show must go to the ensemble. On stage for most of the time, the acrobats, trapeze artistes, high wire experts and dancers never flag. Some neat cameo roles, too, from David Birch as an anxiety-ridden Wilton, while Edward Wade’s Julius Goldschmidt is a gem.
With great costumes and breath-taking staging – including a mock-up of the nether limbs of an elephant – this show is a firecracker.
Runs until Saturday August 15th
https://www.wmc.org.uk/Productions/2015-2016/DonaldGordonTheatre/Barnum/
Category Archives: Circus
Review Bianco No Fit State Circus by Becca Hobbs
“We should know by now that the most exact, most precise representation of the human heart is the labyrinth. And where the human heart is involved, anything is possible”
(The Elephant’s Journey, José Saramango)
Nofit State Circus is back with its newly adapted 2015 immersive promenade experience BIANCO. Entering the tent you are left to explore a huge dimly lit grunge style performance space. As the artists gabble away to each other, pushing through the crowd as if obstacles, the pre-show is choreographed chaos with silhouettes of performers, hidden by translucent sheets, warming up behind a scaffolding cage in front of you. Props and ladders are thrown around amongst muffled shouts of indistinct languages and you stand there invisible, as if you have secretly stumbled into an unidentifiable time.
Channelling Portuguese laureate José Saramango’s novel The Elelphant’s Journey, embarking on an adventure across Europe, creator and director Firenza Guidi’s BIANCO plays with concepts of geographical place and contemporary culture. With a cast from all over the world, the show incorporates elements of burlesque humour, romance and cabaret set against innovative contemporary imitations of a trip to the cinema and a balmy trampoline based scene at the seaside.
Between the tender moments of interpretative sequences in the air by the trapeze, rope and silk artists, there are dives and stunts that generate gasps from the audience as performers drop, spin and leap above and around you but the element of danger makes it all the more exhilarating. Whilst the team are incredibly safety conscious with the audience, particularly the children, the company perform without safety nets. However, their energy and confidence is infectious and within the first fifteen minutes, you begin to forget that they are in danger at all as you are so wrapped up in the visual and aural spectacle. Scene changes often become a part of the act and there is always something to overt your eye and capture your attention whist structural reshuffles are taking place.
There are a few stagnant changes but the momentum is never lost as the atmosphere is maintained by the incredible live band and diverse score. BIANCO is as much about the artistic choreography as it about the music that compliments it.
Shedding their clothes, transforming and adapting to each new structure, the chameleon like performers take on multiple roles within this huge narrative and create a visual language that demonstrates (building on the foundations of Saramango’s novel) that we are capable of surpassing our own expectations. To single out individuals feels wrong as every performer whether they are holding an instrument, strapped to a harness or doing both adds something unique.
You cannot merely watch the show, for those extensive 140 minutes you become a part of it, being allowed to enter the performers intimate world both figuratively and literally through the promenade experience. If you are willing to embrace BIANCO for what it is – there is no pandering to the audience, you are shuffled around and you stand for the duration – the danger, spectacle and unrestrained beauty will take your breath away. The technical skill and serenity is coupled with something raw but the outcome is utterly compelling. Nofit State Circus bares its soul in this pioneering production of friendship and adventure. It is clear that a NoFit family has been created and by end of show when in that moment you want to be a part of it, you find yourself left in the finale’s close standing in a snow globe with the performers watching you.
NoFit State don’t just set the bar high, they fearlessly leap over it.
REVIEW Briefs-The Second Coming, London Wonderground
Inside the European Spiegeltent on London’s Southbank, a new world is formed.
This cabaret, fringe style hub hosts a huge supply of performances to see, all different and all spectacular.
London Wonderground introduced me to the Briefs – a circus, cabaret, boylesque drag show from Australia.
As a fan of all these types of performances, I thought I would know what I was heading for, but in reality, I could not have ever guessed !
We were introduced to a host who not only welcomed you to their show, in a friendly and personal manner but also cracked many a joke and innuendo that could only be described as side splitting. Her costumes were ever changing and lived up to the notoriety of drag acts for being stunningly beautiful – from her costume, to her make up, to her on stage persona.
Not one group of performers has ever had so many skills and used them so well together in such a polished show. Dallas DellaForce brought her stunning change of drag acts, lip syncing and changing her personality from a Cher lookalike, to a posh dog owner, to even a boylesque balloon act with a split personality syndrome. Her beauty, charm and fantastic acting skills won over every audience member.
Acts such as a young gentleman able to complete a rubik’s cube in little more than 3 minutes while dressed as a cheeky school boy made everyone astonished and giggle. His skill in as little as yo-yo tricks, while talking about it here may seem tedious, but was in fact awe-inspiring, linking this into a burlesque routine, also divided the audience from the strong to the prude, releasing the naughty but rude nature of the show.
This continued with acts such as a crazed and clown-like monkey character, who used innuendos and phallic inspired jokes to ensure that this show was not for the faint hearted, but definitely for those with a great sense of humour.
Of course, this wasn’t always the aim of the show. Adult content always ticks a box for me in shows such as this, but moments of sheer awe not only gives a break for those who feel a little shocked, but to also gives a moment for your jaw to drop. A flexible and strong male who was able to contort himself, fly high above us in a hoop performing tricks that you could only wish to do left the room in silence, with the occasional ovation and cheer for the fantastic tricks he was able to do.
Finally, to end the show, a fantastic burlesque act. Beginning in an outfit to die for as a beautiful bird of paradise, ending up in a Dita Von Tease style champagne glass of water, and again, a series of acrobatics movements above us, this act was not only verged classic and elegant, but comedic with water splashing everywhere, drenching the poor premium Wondergound seating areas at the front. Who could ever be mad at water-soaked performance when it was executed so perfectly and gracefully!
REVIEW Briefs-The Second Coming, London Wonderground BY Hannah Goslin
Inside the European Spiegeltent on London’s Southbank, a new world is formed.
This cabaret, fringe style hub hosts a huge supply of performances to see, all different and all spectacular.
London Wonderground introduced me to the Briefs – a circus, cabaret, boylesque drag show from Australia.
As a fan of all these types of performances, I thought I would know what I was heading for, but in reality, I could not have ever guessed !
We were introduced to a host who not only welcomed you to their show, in a friendly and personal manner but also cracked many a joke and innuendo that could only be described as side splitting. Her costumes were ever changing and lived up to the notoriety of drag acts for being stunningly beautiful – from her costume, to her make up, to her on stage persona.
Not one group of performers has ever had so many skills and used them so well together in such a polished show. Dallas DellaForce brought her stunning change of drag acts, lip syncing and changing her personality from a Cher lookalike, to a posh dog owner, to even a boylesque balloon act with a split personality syndrome. Her beauty, charm and fantastic acting skills won over every audience member.
Acts such as a young gentleman able to complete a rubik’s cube in little more than 3 minutes while dressed as a cheeky school boy made everyone astonished and giggle. His skill in as little as yo-yo tricks, while talking about it here may seem tedious, but was in fact awe-inspiring, linking this into a burlesque routine, also divided the audience from the strong to the prude, releasing the naughty but rude nature of the show.
This continued with acts such as a crazed and clown-like monkey character, who used innuendos and phallic inspired jokes to ensure that this show was not for the faint hearted, but definitely for those with a great sense of humour.
Of course, this wasn’t always the aim of the show. Adult content always ticks a box for me in shows such as this, but moments of sheer awe not only gives a break for those who feel a little shocked, but to also gives a moment for your jaw to drop. A flexible and strong male who was able to contort himself, fly high above us in a hoop performing tricks that you could only wish to do left the room in silence, with the occasional ovation and cheer for the fantastic tricks he was able to do.
Finally, to end the show, a fantastic burlesque act. Beginning in an outfit to die for as a beautiful bird of paradise, ending up in a Dita Von Tease style champagne glass of water, and again, a series of acrobatics movements above us, this act was not only verged classic and elegant, but comedic with water splashing everywhere, drenching the poor premium Wondergound seating areas at the front. Who could ever be mad at water-soaked performance when it was executed so perfectly and gracefully!
Review Bianco No Fit State Circus
Photograph credit R Davenport.
Bianco’, performed by ‘No Fit State Circus’ was the last show I went to see at the Edinburgh Fringe Festival. I left the circus tent shaking in awe. When a performance has given you a lump in your throat that makes it hard to even cheer or clap, you know they have done well. Every section beautifully designed that was enhanced by the power of the live band.
There were no individual stars but an ensemble of talented performers, each bringing their own expertise to the stage. Even though this was a stereotypical contemporary circus show, they brought so much emotion to the way they performed that it stood out from any other circus acts. The music and the lyrics especially helped create this emotion and made mini-narratives for each section. There were moments in this show where I felt I’d left reality behind and stepped into a dream. It was aesthetically pleasing in every sense that I couldn’t believe it was happening before me. I never wanted it end. What was more interesting is that I felt like I was part of the production myself. The constant change of positions to re-arrange the performance space made it become even more immersive. Sometimes it took away from the essence of fantasy, yet it was necessary.
It was evident that every aspect of the show was well thought out and infused with professionalism. Every person so physically fit it was inspiring to watch. Overall ‘No Fit State Circus’ is heightened with pure talent, innovative imagery and a set to be admired at. Step into this tent and leave reality behind.
Review ‘Toast’ and ‘Ken and Steve’ – Velvet Trumpet by Hannah Goslin
Cardiff Comedy festival has brought many opportunities for a belly laugh over the last few weeks. Being invited to watch comical plays by South London group, Velvet Trumpet was a great opportunity and just what I needed today.
Toast began with us looking at a simple dining room table with all the pieces to the puzzle for Toast eating. What made this short skit special was that the toaster was fully functioning, filling the room with the smell of warm bread and the steam against the simple whitewash lighting. We are introduced to Michael; the usual man, making his breakfast and getting ready for work. His love affair with toast is something that most can relate to. The gluten and wheat intolerant in me could even relate to the versatility and ease of toast eating in a previous time. However toast is only a metaphor for Michael’s failed marriage and his way of coping. Hilariously taken through his story, his take on his ex-wife and his life provided many opportunities for a laugh. Interaction with the audience, bringing one on stage also made us feel hilariously awkward, such as the story at that point in time tried to express and the uneasiness of this made the audience laugh continuously. The actor playing Michael managed comedy in an almost natural way in this story telling style, without trying to bring slapstick into the performance which could have been an easy way out; so when the story turns a strange journey, this provided more comical outlets for the absurdity.
A short ten minute break and the change from the original minimalist staging and props turned into an even more simple projection. This longer piece began with a short video of Ken and Steve and their travel of 200 miles from London to Swansea, all in the name of art. However, the support of the Welsh for these two Swansea Jack’s were severely lacking, and during their ‘presentation’ Ken’s anger comes alive. This, what seemed slightly unscripted, piece was a complete turn on the night so far. A simple piece focussing mainly on the telling of a story had turned into the back and forth relationship between Steve – an average and calm man and Ken – a melodrama-ed version of a proud Welshman. More audience interaction, multimedia usage and plenty of slapstick, it was hard to not laugh. Since the actor of Ken was played by the same man as Michael in Toast, himself as a performer was really interesting to watch to show his versatility as a performer; from a naturalist story-teller to a complete over exaggerated being. Ken and Steve picked up many part of Welsh comedy, looking at stereotypes of the Welsh and of particular places in both their telling of their journey, their quips and characters themselves. Combined with high energy movement at times and use of film, this simple but effective piece was a great ending to the night.
Velvet Trumpet had combined the two pieces well by beginning with something so calm and ending with something so solidly humorous – this company sure know how to get their audience and how to combine two different forms of comedy for a fantastic night.
Review Bianco, No Fit State Circus, WMC, Chelsey Gillard.
Bianco
NoFit State Circus
Wales Millennium Centre
3rd May 2013
To describe exactly what happened would be to somehow diminish it – words could never give you the same feeling of excitement, wonder and fear as the daring feats performed by the cast of Bianco right above your head!
In their daring promenade performance NoFit State invited the audience up onto the WMC main stage where the performance took place around, in and above the crowd. Huge pieces of mobile scaffolding were manoeuvred to constantly redesign the performance space and unveil the next spectacle.
True to their style there was no concrete narrative through the piece, just reoccurring themes particularly that of shedding what is unnecessary in order to achieve more. One particularly striking scene presented immaculately dressed blonde bombshell Ariele Ebacher traversing the tightwire in high heels. Gradually she shed her tailored dress, shoes and even the blonde wig to reveal an even more agile, strong and athletic brunette – her at her best.
As if there wasn’t already enough to entertain you a fantastic live band played throughout. Their range of styles was incredible; from moody and tense to upbeat and stereotypically circus-y. Sometimes they provided an abstract narrative to the aerial action that was particularly striking when combined with the powerful grace of August Dakteris.
Some moments were truly touching, a duet performed on a suspended frame seemed to say all there is about love. The finale in which beautifully tattooed Sage Cushman joyfully performed dance-trapeze whilst a blizzard fell around her was again stunning.
These incredible moments of finely crafted theatre were sadly diminished in places by the constant movement of the huge set and more could have been done between the set changes to keep the pace as high as it was in the breakneck ensemble pieces. Also on the rare occasions that the performers poke it was impossible to hear them.
The lack of storytelling allowed the company to focus on creating a series of otherworldly and breathtaking images. This experiment into promenade circus theatre although flawed in places was certainly exciting and engaging.
YC Review Dressing Up Too SCYT, Chelsey Gillard
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To get nearly 100 young performers on stage is no mean feat, yet Sherman Cymru Youth Theatre’s inventive catwalk show was engaging and unusual. In form and content it covered material that is completely out of the normal comfort zone of other youth theatres. There were no ‘lead roles’ for the star performers, no mediocre chorus – just a group of talented young people who worked together to produce a polished and touching show. The production explored the dichotomy between what we show on the outside and what is going on inside each of our minds. Described by Head of Creative Learning, Phil Mackenzie, as a ‘catwalk circus of fractured narratives’ the show jumped between each of the five youth theatre academies. Each one having worked on separate narratives that all linked to the theme of social perception and inner turmoil. A deeper layer of meaning was given to the performance by the presence of a group of elderly citizens who remained onstage throughout. At intervals each would come forward and share a story from their life, often humorous, sometimes tragic. One of the older women amused the audience with her phobia of finding a dead body around every corner and then proceeded to ask ‘do you think I watch too much TV?’ One of the highlights of the night was undoubtedly the story of Harry who is different, quirky, unaccepted by his peers. After a mysterious visit (just like Harry Potter) our Harry goes away to school but this time he is to become a cardboard box. After finishing school Harry becomes a fashion icon and soon everyone is wearing his cardboard creations. Everyone except a young woman brave enough to be different, she’s a tin foil girl. This clever commentary on social media sites such as Twitter and Facebook was light enough for the age group but still touched on the hugely important issues surrounding cyber bullying and isolation. Political theatre from young people is so rare but clearly much needed. Any casting agents out there should definitely keep their eyes on the members of the oldest group of young performers – Company 4. In their late teens and twenties the group is chock full of focussed and talented actors. Their group work was flawlessly timed and each of their sections was intense and emotional. With plenty of youngsters to take up the mantle this group is sure to be strong for years to come. Mention has to be made of the beautiful costume design by Deryn Tudor, combined with hair and makeup by Alice Pattillo that added so much drama to the more traditional theatrical sections. Also the multimedia aspect of the show (John Ingham ) ensured there was a constant visual feast that captivated and intrigued. For young performers to be given the opportunity to develop such highly polished and professional work is amazing. More importantly however, they all seem to love what they are doing and put their all into giving great performances and making sure everyone there has a great time. With the ages of the young performers ranging from 11-26 the skills they will pick up will be invaluable – confidence, focus and teamwork. Any young person with an interest in performance should get involved with these groups; they will constantly be creating stimulating work that they can be proud of. To find out more visit: www.shermancymru.com To read my interview with Phil Mackenzie : http://hypercriticreviews.blogspot.co.uk/2013/02/you-must-see-this-show.html Chelsey is a member of the Young Critics Scheme, fur further information on the scheme contact guy.odonnell@bridgend.gov.uk |
Recent YC reviews Rachel Williams
Last Christmas | Theatre Review
Sherman Cymru
12 December
★★★★★
Christmas with a difference has landed at the Sherman: amongst the brightly coloured lights and floating snowflakes, stands one man: devoid of renditions of ‘He’s behind you’, emotions run high and hangover’s hit hard when reality rears its head and the spirit of Christmas is floundering. Matthew Bulgo’s debut play Last Christmas explores the idea of finally growing up and realising happiness isn’t just about escaping the past, but embracing the future. Tom faces the ghosts of the Christmas past to head into his future.
There is a unique take on a seemingly clichéd topic in Last Christmas: Tom escapes the backwards, boring Swansea life for the lights and highs of London as a film maker, but after a while the drudgery of paying the bills and an ordinary office job seeps back in. The character’s and the detail of Swansea are vivid: Lanky, Spanner and Bins are that much more alive than the likes of London character’s ‘Suz’ and the Intern. If ‘ambition is critical’ enough for people to leave, Last Christmas highlights the fact that they end up leaving something behind: true friendship and family – what did Tom’s dad really think at the end? Was he proud? It is Tom’s journey home where he comes to realise, through a haze of alcohol that he need not have worried: he has after all begun to become his father.
A one man show is difficult to pull off but the combination of talent brought about by Dirty Protest’s collaboration with Clwyd Theatre Cymru creates an intimate piece full of emotion and passion. Siôn Pritchard’s skillful acting and comic timing is fantastic: he portrays this ordinary man in such a way that everyone can empathise with on different levels and his portrayal of those in his story is pitched perfectly, each personification adding to the depth of the story. Matthew Bulgo’s use of language and imagery is superb: he has brought a character – who could easily have slipped into a one dimensional life – into a multi-dimensional, full colour existence. Filled with stomach creasing rants that flow with ease into dark, grief filled moments that brings tears to the eyes. Kate Wasserberg has used her skill to mould these two talented elements of actor and writer into a seamless and striking piece of theatre.
Last Christmas was a captivating hour of theatre and joy to watch, filled with the mixed blessings that Christmas brings for so many and the joy for others.
There is a unique take on a seemingly clichéd topic in Last Christmas: Tom escapes the backwards, boring Swansea life for the lights and highs of London as a film maker, but after a while the drudgery of paying the bills and an ordinary office job seeps back in. The character’s and the detail of Swansea are vivid: Lanky, Spanner and Bins are that much more alive than the likes of London character’s ‘Suz’ and the Intern. If ‘ambition is critical’ enough for people to leave, Last Christmas highlights the fact that they end up leaving something behind: true friendship and family – what did Tom’s dad really think at the end? Was he proud? It is Tom’s journey home where he comes to realise, through a haze of alcohol that he need not have worried: he has after all begun to become his father.
A one man show is difficult to pull off but the combination of talent brought about by Dirty Protest’s collaboration with Clwyd Theatre Cymru creates an intimate piece full of emotion and passion. Siôn Pritchard’s skillful acting and comic timing is fantastic: he portrays this ordinary man in such a way that everyone can empathise with on different levels and his portrayal of those in his story is pitched perfectly, each personification adding to the depth of the story. Matthew Bulgo’s use of language and imagery is superb: he has brought a character – who could easily have slipped into a one dimensional life – into a multi-dimensional, full colour existence. Filled with stomach creasing rants that flow with ease into dark, grief filled moments that brings tears to the eyes. Kate Wasserberg has used her skill to mould these two talented elements of actor and writer into a seamless and striking piece of theatre.
Last Christmas was a captivating hour of theatre and joy to watch, filled with the mixed blessings that Christmas brings for so many and the joy for others.
Sunday, 18 November 2012
The Adventures of Sancho Panza – Theatre Review
The Adventures of Sancho Panza
Riverfront Theatre, Newport
9 November
★★★★
The Adventures of Sancho Panza is a modern twist on the Don Quixote classic, drawing the real and fictional worlds together and the Don is no longer centre stage. With an unusual opening scene, Sancho Panza and his mother are attending the funeral of their father and husband, it is after when Sancho cannot get his mother to read with him and he reads alone, that his imagination takes over, bringing the Don himself to life and launches Sancho into his adventure.
It is an adventure full of glorious battles that simultaneously get more creative and ludicrous as the journey goes on, from fighting a lion to a singing competition with another knight. The comic element to the show is a huge factor and the audience are often in stitches: Gareth Clarke’s comic timing as Sancho is impressive, appearing almost instinctive, the same with Andrew Tadd – whose cheeky aside’s to the audience are perfect.
The set is striking yet simple – all in white it is transformed from kitchen to castle, waterfall and country road with ease and some ingenious use of props: the Don’s horse is actually a double base and Sancho’s donkey a Violin. Roles of paper have versatile uses, from Knightly capes to waterfall’s and caves. The cast climb all over the furniture, turning a table into a horse drawn carriage.
Involving the audience in a rendition of Robbie Williams’ Angels was a stroke of genius: I had to concentrate very hard to join in, as I fought not to break out into a fit of laughter.
My only note would be that the piece felt like it faltered slightly: the pace started to wind down about two thirds through, rather than continue at a pace, almost if an interval might be needed somewhere. As it moves past this it does regain its momentum as Sancho is granted is own island to govern and the comedy continues.
The musical talent of the cast is brilliant: Maxwell James is handy with his guitar throughout. His rendition of the opening “There’s a million other places I’d rather be than here…There’s a million other people in the world I would rather be” is heartrending as we watch the funeral procession unfold. He plays challenging Knight in the Don’s (Gareth Wyn Griffiths) sing off. Wyn Griffiths is brilliant as the chivalrous, kind but occasionally daft Don.
Closing back in on reality, Sancho’s mother finds him reading out in the cold, his imagination having run its course and together they are able to work through their grief and Sancho’s questions of ‘Why?
A masterful, heart-warming and touching piece it is well worth seeing.
The Adventures of Sancho Panza is on tour again in 2013.
Info: www.hijinx.org.uk/ Hijinx as a theatre company are dedicated to creating accessible theatre for all the family and to the inclusion of actors with special needs.
Sunday, 11 November 2012
A Midsummer Night’s Dream – Theatre Review
Fri 2 Nov
Royal Welsh College of Music and Drama
It is one thing to remember how funny a show an be, it is another to bear witness to a production that goes one better and every enunciation, tumble and action is comic perfection. In this production of Shakespeare’s farcical fairy tale every comic nuance possible is put to work, creating a hilarious, adventurous and magical performance. Theatre Mwldan and Mappa Mundi have revisited a partnership with Torch Theatre for this production, an enterprise that has again worked wonders.
Transported from ancient wooded Athens to 1940’s Britain, this Midsummer Night’s Dream is a new commentary on changing times where love wins out over stubborn class divides as Lysander –transformed into an American – fights for Hermia with the now straight laced, Englishman Demetrius. Air raid sirens sound and silent films play, setting the scene before the cast launch into the text – dressed as the soldiers, land girls, wardens and the glamorous upper class.
The plebeians of St Athans Amateur Dramatic and Operatic Society (SAADOS) are the perfect comic bumbling relief to Oberon and Titania’s dark, sinister fairyland where unrequited love and false chivalry abound as the human’s fall victim to Puck’s shambolic meddling. Their inexplicable rendition of Pyramus and Thisbe making the perfect comic mockery of amateur theatre Liam Tobin’s Bottom and James Peake’s Flute stumble over lines, over act the scenes and produce ridiculous prop’s – Llinos Mae’s Snout suffers as the SAADOs rendition of the ill-fated wall. Mathew Bulgo’s plays Quince, forever attempting to improve his amateur actors and forever failing – only to give up in complete irritation.
With such a sizable but incredible talented ensemble cast it is difficult to pick the shining star: they all shone. Yet Joanna Simpkins was truly impressive as Helena: heartbroken and desperate her pursuit of Demetrius plays out with such physicality the audience is at once with her in sympathy and laughing at the hilarity if it and it starts again as the roles reverse and she is pursued by both Demetrius and Lysander after Puck’s meddling. Francois Pandolfo as Puck is simultaneously menacing and enticing – flitting about the stage he is the willing villain of Oberon’s jealous plan and his appearance amongst the audience adds to the dreamlike quality of the show, becoming the dream’s storyteller.
A remarkably simple set works well with the lighting, enhancing the dark, dreamy world. Multi-media use at the beginning and end: delivering Puck’s final lines is eerie and perfectly placed to close down the dream and let the dreaming audience awaken.
A Midsummer Nights Dream is on tour until 8th December.
Info: www.mappa-mundi.org.uk
Saturday, 25 August 2012
Llwyth – Theatre Review
23 Aug 2012
Y Llwyfan, Carmarthen
★★★★★
On a night when communities come together in brilliant catharsis – Wales has lost the rugby – four friends are living their own moments of catharsis as they move through their own night of fighting, reminiscing and revelations.
Llwyth takes its inspiration from the Gododdin – a tale of warriors and men from several tribes bound together as a community by loyalty for their King and their country against a common enemy. Over a year they trained during the day and feasted and drank at night before marching on their foe and wiping out seven times their number. Weaving the lyrical, poetic language of this sixth century poem into the play, writer Dafydd James handing Aneurin (Simon Watts) beautifully crafted monologues that he performs with conviction and perfectly pitched acting.
This play isn’t just about being gay or about gay life in Cardiff, it digs deeper into a world of universal insecurities, friendships that last – no matter what and that sense of belonging many of us earn for. Rhys (Paul Morgans) is turning 30 and faced with boyfriend Gareth (Michael Humphreys) supposed inconsistencies and throughout the night they fight out their differences. Gavin (Joshua Price) is that innocent teenager starting out in life, a mix of naivety and that rush to experience life. Dada (Danny Grehan) is the aging ‘queen’, father and storyteller of the group, having already lived and experienced life. Aneurin is a struggling writer, lost amongst his ideas and fighting against his past – unable to face up to his emotions and the recent death of his mother.
Humour has a huge presence in the dialogue, breaking up the tension at the most perfect moments. The Eisteddfod gets a lambasting and faces of the media get their mention as comparators to the character’s themselves and as part of their life stories.
Written predominantly in Welsh there are splashes of English and Wenglish: a vision of truth of today’s culture in Wales and even though it is English that is predominantly heard every day it adds another element to the play. As much now as in the sixth century this is a land of languages and cultures, of tribes that exist separately yet come together for a common cause. There are surtitles available in English, but with the superb acting and physicality of the cast, the harmonic choral singing of the choir and soundtrack and the skilful use of the stage and props through Director Arwel Gruffydd Llwyth captivates the audience enough to forget about the surtitles.
A distinctly Welsh play, Llwyth is not necessarily owned by Wales, it will travel and it has proved that – receiving rave reviews at Edinburgh’s Fringe and through its invitation to the Asian Arts Festival in Taipei.
A play to make you laugh, cry and what to join in dancing, Llwyth is a genius piece of writing: tender, heart-rending, laugh out loud funny and exciting. I promise you will find it hard to fault it and will absolutely love it.
Llwyth is at Sherman Cymru for its last set of performances 12-14 September before it heads to the festival in Taipei.
Info: http://www.shermancymru.co.uk/
Info: http://www.shermancymru.co.uk/
Saturday, 11 August 2012
Y Storm – Theatre Genedlaethol Cymru – Eisteddfod 2012
Y Storm
National Eisteddfod Wales
8th August 2012
★★★★
Ystorm is Gwyneth Lewis Welsh language translation of Shakespeare’s The Tempest. A tale full of power, jealousy and revenge: Prospero was the Duke of Milan but his love of the dark arts and his library led him to invite his brother Antonio to share the power. Antonio then conspired with the King of Naples Alonso to usurp Prospero and send him to a far flung island. It is Gonzalo who allows Prospero to take supplies and his books. It is on this island that the story starts, where Prospero has used is powers and servant Ariel to shipwreck his enemies on his island where the lets them wander, tormented by dreams and spirits. Ferdinand is split from his father Alonso and thinks him dead but at sight of Miranda (Prospero’s daughter); Ferdinand falls madly in love and submits to Prospero’s servitude to prove he loves her. It is Prospero’s aim to regain his Dukedom and teach his enemies the lessons they deserve yet it is Prospero who also learns lessons – to treat his enemies with honour and to be the better man.
Directed by Elen Bowman Ystorm is part of the World Shakespeare Festival, in conjunction with the London 2012 celebrations.
As a first language English speaker and admittedly only Welsh language learner, I walked in concerned as to how much I was going to understand but within moments the performance took over and entranced the soul.
The continual movement and use of the whole space as the cast mingled in amongst the audience added another level to the performance. The surtitles were good for keeping up where the story was when you couldn’t quite remember the next part but the non-fluent audience did not have to rely on them – just listening to the language was a pleasure.
Members of the acclaimed Citrus Arts are part of the cast, lending their unique physical brand of circus theatre to the performance, using the tent scaffold to its full potential, as spirits flying around the sky (with aerial equipment) and adding a carnival atmosphere to the scene (using fire and floor equipment) when Prospero uses his powers to conjure up a fantasy for Miranda and Ferdinand and Ariel calls forth the Gods of the land.
Ariel is a character trapped by the lure of freedom and Meilir Rhys Williams plays him perfectly, he is at once the unearthly, playful mischievous spirit and the loving servant. Along with his team of spirits the choreography was fantastic, playing with the human characters minds – working around them as if invisible with perfect timing and grace.
The performance space – a purpose built tent – was a warm sandy island in the middle of an ocean of mud, replicating the remote island Prospero was cast out to and transports the audience into the Shakespearean world as they took their seats on tiered platforms around the tent.
Trinculo (Hugh Thomas) and Stephano (Siôn Pritchard) were the perfectly pitched comic relief against the more powerful, emotional turmoil’s played out by the larger characters with their brilliantly timed drunken antics and petty greed putting their own instant gratification above all else. When they come across Caliban hiding from Prospero they turn him into a willing drinker as he happily submits to being their servant not Prospero’s. Caliban’s character also provides a different angle to the story: after all he is the original inhabitant of the island – given the role of the brutish uncivilized slave he is another innocent in the equation, used harshly by Prospero for his own ends.
A brilliant show I would definitely recommend and I look forward to further productions by Theatre Genedlaethol Cymru.
Y Storm is at the United Counties Showground, Camarthe 18-21 September and
Faenol Estate, Bangor 2-6 October
Faenol Estate, Bangor 2-6 October
Wednesday, 1 August 2012
Act One’s King Lear: Edinburgh Fringe Preview
Cardiff’s Act One head for Edinburgh’s Fringe:
Sun 12-Sat 18 August
The Monkey House, Edinburgh
(originally for Buzz Mag)
The Monkey House, Edinburgh
(originally for Buzz Mag)
The Edinburgh Fringe is a pivotal point in the theatrical calendar and Cardiff University’s very own Act One drama society are heading up there to perform, taking performances ofWuthering Heights, The Institute andKing Lear. Nearing the end of their intensive rehearsals I caught up with Piers Horner, Co-director of King Lear.
This King Lear has a substantially cut script – to fit into their 1 hour 15 minute and to make it more absorbing and engaging to a modern audience: Piers admitted it had been a challenge to retain a concise script, make a production that is far more accessible and to hold people’s attention, but also keep the essence of the play and not detract from it.
A post-apocalyptic interpretation, its intensified violence is blended with the text’s raw power and the original Shakespearean language. Piers explained the idea of a crumbling society, where Lear himself is a crumbling figurehead – losing power to his two callous daughters whilst the third daughter is banished and powerless to help. Gloucester, part of the only remaining sub-plot, is corrupted by his illegitimate son Edmund, forcing his elder son to flee.
To Piers heading up to the Edinburgh fringe is incredible and hugely exciting, particularly as they only ever envisaged it as a main Cardiff Act One production and to be there on showcase with great companies in an event where anything can happen is incredible. Performing in The Monkey House they have a prime afternoon spot away from the larger evening performances.
For those lucky enough to be heading up to Edinburgh in August @LearFringe2012 is their Twitter tag.
Tickets: £7.50. Info: www.edinburghfestivals.co.uk
A post-apocalyptic interpretation, its intensified violence is blended with the text’s raw power and the original Shakespearean language. Piers explained the idea of a crumbling society, where Lear himself is a crumbling figurehead – losing power to his two callous daughters whilst the third daughter is banished and powerless to help. Gloucester, part of the only remaining sub-plot, is corrupted by his illegitimate son Edmund, forcing his elder son to flee.
To Piers heading up to the Edinburgh fringe is incredible and hugely exciting, particularly as they only ever envisaged it as a main Cardiff Act One production and to be there on showcase with great companies in an event where anything can happen is incredible. Performing in The Monkey House they have a prime afternoon spot away from the larger evening performances.
For those lucky enough to be heading up to Edinburgh in August @LearFringe2012 is their Twitter tag.
Tickets: £7.50. Info: www.edinburghfestivals.co.uk
A Second Serving of Mayhem from Cwtch Cabaret
A Second Serving of Mayhem from Cwtch Cabaret
POSTED BY HYPERCRITICREVIEWS ⋅ MARCH 4, 2012 ⋅ LEAVE A COMMENT
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Cwtch Cabaret
29th Feb 2011
Richard Burton Theatre, RWCMD
Stars: *****
Back for a second round of mayhem Cwtch Cabaret’s second tour showcased a whole new bunch from the wacky, weird and wonderful world of variety acts. With a new Cardiff venue in the beautiful Richard Burton Theatre (Royal Welsh College of Music and Drama) Cwtch have clearly taken a huge leap forward and somehow managed to put on an even more spectacular show than last time.
Once again hosted by the beautifully mismatched pair of Chris Lynham and Kate McKenzie, they perfectly fanned the flames of madness and magic that made the night so spectacular. This duo never get boring, they are always exciting and unpredictable. The pure enjoyment they get from performing spills over into the audience and creates an atmosphere of fun and frivolity that you can’t resist. Chris’s offbeat satire on film noire was intelligent and hilarious, you can never predict what he will do next.
The most varied and versatile performer of the night was multi-award-winning Australian Jess Love, graduate of Melbourne’s National Institute of Circus Arts. Her first act, “The Majorette” delivered high-energy, body-bending skipping tricks. As “Maureen the Cocktail Queen” she presented new take on comedy burlesque, with a custom built bra that incorporated a fruit juicer she captured the audience with her kooky charm and charisma. Her final act was certainly one of the highlights of the evening, taking us on a trip to the land of the outright odd. A strangely feminine young man enters upstage and starts to perform a confused striptease, only to reveal a passion for wearing women’s underwear. If this wasn’t mind boggling enough, our confused young man then begins to hammer a nail into his nose! This fusion of off the wall burlesque and side show was completely original and gorgeously gruesome. Overall a delightfully talented young woman who will not fail to entertain.
Jess Love (From http://www.jesslove.com.au/Welcome.html)
Petra Lange is an aerial artist like no other. Punky Petra violently destroyed the delicate, gentle stereotype with her emotionally intense rope performances. Her “Tango” was confident, sensual and just simply beautiful. She performs with her heart, providing a story through her acrobatic skills and emotional performance. Her second routine on aerial silk or tissu, was overflowing with confidence, rebellion and in your face attitude! As she plunged from the top of the rope to stop just before hitting the stage the audience let out a huge gasp, equally dangerous and enchanting she is completely individual and spellbinding.
Showcasing inventive card tricks and imaginative juggling skills Luke Wilson is the perfect showman. He elegantly framed his magic act with chat to the audience and natural, nerdy charm. Although he had to compete with an audience comedian who stated their name was “Dave Id” he still easily wowed the audience with his impressive sleight of hand. To keep his juggling act relevant to the 21st century audience he performed to a polished blend of British and Oriental music that perfectly complemented his routine. Using one to five clubs and his whole body to keep them airborne he proved why he is a visiting Professor of Juggling at Stockholm’s University College of Dance and Circus.
Luke Wilson (Fromhttp://www.lukewilson.de/ Photo by Matt Hennem)
Treading the tightrope of controversial comedy was Frank Sanazi. Fuhrer of the “Fatherlounge” he reinvented Sinatra’s classics to fit his extreme right (or extremely wrong) agenda performing “Mein Way” and “Feelin’ Guten”. The songs were painfully funny and his interaction with the audience showed a comedian of true talent. His tongue in cheek performance made it impossible to take offence at the leader of the Iraq Pack, whose other members include Osama Bing Crosby, Dean Stalin and Saddami Davis Junior. As his website says “He may not be a real nazi but he’ll still give you one helluva gas!”
The true variety and high speed pace of this season’s tour meant the fun was non-stop. With hardly a second to regain their breath the audience were alternately crying with laughter or gasping in admiration. Once again I encourage everyone to visit the Cwtch Cabaret website and get tickets for their next tour in May, when I’m sure they will offer up another first-rate serving of the brilliant and bizarre.
Reviewed by Chelsey Gillard
From more info on Cwtch Cabaret and all the artists mentioned please visit: http://www.cwtchcabaret.co.uk
For more reviews visit : http://www.hypercriticreviews.blogspot.com