The Greatest Showman comes in loud and proud to be a movie musical. I relishes in it’s ability to sing and dance and show colour before you. I wonder how it will fair with the not clear advertising that seemingly wants to hide the fact that it’s musical.
It’s opening song says that you yourself want to be entertained with a musical and showmanship and it will provide. If you are not in for the ride now you should leave the theater because then it’s not for you. We are then taken back in time to a young boy named P.T. Barnum, he is the son of a poor tailor, they serve some sort of rich man who has a daughter (guess what happens). Time passes and as they grow up and marry two children join them. While working as a clerk at a shipping company everyone looses their job because all the ships were sank. So he is out of a job but also reflects that this is not the life he promises his wife and seeks out wonder. He opens a museum of oddities, but mannequins and stuffed animals don’t do good business. So he seeks out real life oddities, little people, giants, women with beards etc.
Hugh Jackman is by no means a closeted musical lover. He has spoken about it in interviews, hosted the Oscars with opening musical numbers and stared in other musicals and worn it on his sleeve very proudly. You can tell that he is so happy to be here as a character that gets to sing and dance to entertain you, he is of course no slouch in the singing and dancing department (he greatly excels at it in-fact).
To gain respect Barnum recruits Philip Carlyle (Zac Efron) a highbrow theater producer. He is talked into by being reminded that this career he is on gives him no joy and is sold on the promise of excitement in what he does (also a few shots). While working there a spark develops between him and the trapeze artist Anne Wheeler (Zendaya). They are an attractive movie couple and have both acting and dancing chemistry together. I want to highlight Zendaya’s performance because she very strongly conveys the characters repressed mentality to the public with very little screen-time she’s given, possibly due to limited run-time and a lot of focus given to Barnum. But knowing that she is completely different from how she was in Spider-Man: Homecoming truly highlights her as a talent to watch-out for.
This is Michael Gracey’s directorial debut however he has been in the business since 1997. He has been a visual effects artist, which he probably channeled into his vision of this bouncing, high speed world. I believe this man has a strong future in this business.
It wouldn’t be much of a musical if the songs weren’t up to scratch. Most of them are big, upbeat showy numbers designed to impress. There are variations, with ones of different genres and slower and/or more intimate ones. They are catchy and have visuals that compliment them nicely, but they don’t really push the characters and story forward very much, they are just minor moves in the plot or a character saying what we already know about them.
This movie is so happy to be doing what it does. The director absolutely got high on their own supply and got actors that are just as happy to be dancing and singing for us. There are shortcomings, in the passing and compared other top movie musicals, like La La Land, it falls short of perfection. But the movie’s smiles and enthusiasm melts away all those criticisms and made me and will probably leave you smiling.
Jonathan Evans
Category Archives: Film & TV
Review, Early Man by Gareth Williams
(3 / 5)
Some say there’s nothing better than football on a Saturday. And when you’re able to watch it from the warmth and comfort of your local cinema, I’m inclined to agree. It certainly beats a wet and windy afternoon sat shivering in the stands of The Racecourse in Wrexham. As a supporter of the current National League table-toppers (up the Reds!), I’m used to cheering on the underdog. So the situation in the film Early Man is one I’m very familiar with. In the latest offering from director Nick Park and his Aardmann crew, we find the plucky cavemen of the Stone Age taking on the might of the Bronze Age. It is Manchester City versus Ashton Town – the magic of the FA Cup on the big screen. Here, the non-league minnows are represented by the lovable Doug (Eddie Redmayne) and his motley crew of rabbit hunters. Having lived peacefully in their idyllic forest, they are suddenly forced to flee to the barren edges of the Badlands thanks to the heavyweight machinery of Lord Nooth (voiced by an unrecognisable Tom Hiddleston). He has come to mine their land for precious metal, and nothing is going to stand in his way. In the face of such a threat, Doug has no choice but to challenge the rich governor to a winner-takes-all encounter. And in typical Aardmann style, the battle in question is unashamedly British. No blood-and-gore violence here. This fight will be settled through ‘The Beautiful Game’.
As I’ve come to expect from the films of Nick Park, I had a smile across my face from beginning to end. The opening scene was typical of the nuanced British humour that is laced throughout the film. Understated, quirky, clever – I have no other descriptions, other than a comparison with the genius of Monty Python. Once or twice, there were elements that completely matched the best of their absurdity, and had me close to tears (of laughter, I hasten to add) as a result. Children will love the slapstick nature and musical sequences. Adults will titter at the more mature references that pepper the script. But no matter what the age bracket, one cannot fail to appreciate the beautiful craftsmanship that has gone into the set. The establishing shot of the forest is one such moment. The colours are bold and bright; the shrubbery is expertly detailed. It completely overwhelms you. Welcome to the magic and realism of Aardmann’s work. The witty and observant characterisations only add to this production’s quality. The voiceovers were all well-chosen and seemed a natural fit for the characters onscreen. I didn’t find myself playing ‘Guess the Celebrity’ as I do with some animations. Instead, I was immersed in the story enough so as not to get too distracted by the recognisable dialects (though who can fail to invest a bit too much attention in the nasally tones of Richard Ayoade).
If I had to describe this film, it would be as ‘an ode to English football’. On one level, it could rightly be seen as a commentary on the state of the modern game. There are the overpaid professional stars, the extortionate entrance fees, and the huge stadium. There is even a very comical take on VAR, which I thought was a stroke of genius (whether intended or not). On the other hand, it is a tribute to that most working-class of sports. The have-a-go attitude of Doug and his Stone Age companions, along with their lack of resources and makeshift training facilities, is a representation of those in the lower reaches of the English football pyramid. Here is where the raw love, passion and commitment for the game are truly seen, far from the bright lights and big money of the Premier League. No wonder we cheer them on here.
For the football fan, Early Man is a reminder of football’s soul. I can’t help but feel that Park and his team have a real, rose-tinted affection for the game. As a fan myself, I found the two commentators in particular to be really good value, Rob Brydon channelling his inner John Motson and Jock Brown to great effect. I can see how these little touches might get lost on those who have no interest in football though. As a result, it might be fair to say that Early Man is a little more niche than previous productions. Wallace & Gromit and Chicken Run had much more universally recognisable British humour in their content. Nevertheless, for me, Early Man continues a tradition of great Aardmann films. They might not have the big bucks of Disney and Pixar but, like their Stone Age counterparts, Aardmann are still able to give their big-spending rivals a well-fought match.
Review Early Man by Jonathan Evans
(3 / 5)
Aardman don’t make animated movies like others. They are not Pixar, Disney, Dreamworks or Laika. They specialise in stop-motion and are known for their simple characters and plots but packing them with charm and creativity.
They take the familiar and layer it with the fantastical that animation can bring to things. In Early Man it is essentially a turf war story over a game of football, but told in the age of cavemen. Our story opens in Manchester when dinosaurs were still walking around and cavemen were also present. A meteor hits the earth and wipes out the dinosaurs and the cavemen merely get pushed back by the blast (I feel there are some scientific inaccuracies here!). The meteor is rather perfectly round shaped and the cavemen develop the game of football and make their home in the crater it causes. All this information is achieved without dialogue.
A few years later and the descendants of the original tribe that lived there are happily living their lives by hunting rabbits. The young Dug however believes that they are capable of more, like hunting mammoths. But one day big mammoths come marching in with plating on them, people get out and one of them is Lord Nooth that proclaims “The age of stone is over. So begins the age of bronze.” Dug’s tribe is powerless to fight them off but through story conveniences he learns about football and challenges the bronze people to a game.
Aardman have always been able to come up with creative visuals within their story. For example how does Cavemen alarm system work without electricity? Or where do sneakers come from? What exercise equipment can you get from this early age? There are answers to these and more and they’re all funny.
Behind the puppets are some stars but they way they are cast and perform you would never guess. The performances themselves area good no matter who’s behind them. Some characters are able to have a mix a sharp wit and being a dullard the next moment. Other characters are more basic and have a few lines to read and they don’t really go through an arc, but they read their lines well. But back to the matter at hand, I would have never guessed that Eddie Redmayne played Dug or Tom Hiddleston Nooth or it was Maisie Williams playing Goona. I guess it’s a testament to their talent and versatility.
The story is simple to grasp, the characters are not complex and everything has a lot of effort put into it but refined craftsmen. Young children will almost definitely be entertained by the falling down, expressive faces and easy narrative. Adults will find enough wit and winks to keep them happy in their seats during the run time.
Jonathan Evans
Review Darkest Hour by Jonathan Evans
(3 / 5)
Winston Churchill was a Prime Minister that was granted his position because of the oncoming war. He took up the position and lead England to victory. He is remembered for his inspiring speeches and iconic look. Darkest Hour tells the story of Churchill gaining position and his first few days as the leader of Britain.
Director Joe Wright is nothing if not someone that has a visual vision for his movies. They always have a haunting look to them, thick with atmosphere. He’s an expressionistic illustrator, not a accurate photographer. Take for example that most of the sets have one large source of lighting that casts across the room, leaving a lot of it in shadows. Why would anyone have this for a Parliament meeting or in Buckingham Palace? They wouldn’t really, it’s to create a sense of mood, he has never let realism get in the way of creating a good shot.
Obviously the main point of focus has gone to Gary Oldman and his performance. His makeup alone probably took a heap of effort and cost to execute. He slouches and walks in the way that we have to recognise as the man from photographs, illustrations and footage. When he stares at his obstacle he is like a bulldog ready to tear it apart, whether it strategic problem or political member that stands against him. For his characterisation he is a blend of cantankerous, fastidious, shrewd and more than comfortable in indulging in his vices (constantly smoking his cigar and a glass of brandy in-hand). Oldman, along with everything else manipulates his voice to match the real mans very closely as well as being able to act with it.
Surrounding Oldman are a few other players that are also on point. As it’s been said behind every great man is a great woman, there is his wife Clementine (Kristen Scott Thomas) that knew the man she chose the spend the rest of her life with was more than flawed and would only spare her half his time. Joining him at the start of the movie is his new assistant Elizabeth Nel (Lilly James), trepidatious in some ways but also spirited in others. King George IV (Ben Mendelson), that is not the happiest about Churchill’s election but deals with him and eventually gains respect for the man.
There is always a blurry line when it comes to adapting historical events and people into a piece of entertainment. You don’t want to completely lie and deface the memory of what happened but at the same time adjustments must be made for passing and fitting it all into the running time. So the question is how does this one do? It accurately dates it’s big events in the plot with fat dates over the screen, I don’t doubt their accuracy. I feel like this movies goal is about engaging the spirit of having a man that knows how to tackle the threat of Hitler even though he might not be the most polite and likable person. so it is the spirit of the movie you need to connect with rather than be pedantic about it’s accuracy.
The movie has striking visuals and good performances from it’s players. But the experience is lacking of a soul. It simply comes off as trying too hard and you can practically detect that the creators had an Oscar in-mind when they were creating it. Whether it will win any I do not know, it does deserve a few nominations and might very well win a few. But the prodding for the recognition is simply too obvious.
Jonathan Evans
Review The Post by Jonathan Evans
The Post is a movie that has an interesting idea fuelling it though because it consists of people speaking and nothing of true visual interest taking place could come off very dry. Luckily it has one of the greatest working artist in the medium and two of the most highly acclaimed living actors at the forefront (including some very strong supporters).
(3 / 5)
Our movie takes place near the end of the Vietnam War and The Washington Post is busy reporting on the news. They get by but they’re always just a little behind their competitors. There is a buzz in the air about documents that have been copied from classified files in The Pentagon and are released. They reveal so many things like a president predicting that America would loose the war five years ago.
Kathrine Granham (Meryl Streep) runs the paper because her husband committed suicide, so the duty fell upon her. She is surrounded by very qualified men that are certainly there by choice and more attuned to the business. In meetings she prepares but is quite and goes mostly unnoticed. In the office is Ben Bradlee (Tom Hanks) that runs the office work, he gives the go ahead on the story and assigns journalist assignments.
Streep is on-point as a woman that has been handed a job and situation that she did not plan or prepare for but is smart and able to handle tough situations. You can tell this is not her comfort zone but she is nobodies fool or pushover. On the other side of the business is Hanks as a seasoned veteran in the industry that is most certainly in his element. Barking orders decisively and across the room with a few slang words in his dialog to show that he’s been immersed in this world for years makes the character complete.
It is the acting itself which is the selling point of the movie. The two leads are some of the best we have and are absolutely putting in the effort. But there are strong backing performers with Bob Odenkirk, Bradley Whitford, Bruce Greenwood, Allison Brie and Michael Stuhlbarg that make the whole cast give solid performances.
Speilberg has already, many many other times has established himself as one of the greatest directors living and of all time. His movies are audience pleasing and easy to follow, but his mastery goes beyond being simple, he is a great visualizer. He is able to take his camera and through minimal movements but key choices clearly delivers information to the audience. Take for example a moment early on in the movie, we are in Vietnam and soldiers are applying face paint and one catches their attention, the camera then tracks him getting into a jeep and it then flicks down to show a typewriter next to him. That seemingly effortlessly shows what this characters profession is and why he is there. He is also partial to using long takes to allow the actors to truly deliver a scene and the audience to get comfortable with their dynamic. Janus Kaminski deserves to be named for bringing these smooth visuals to life through his cinematography.
This is interesting enough but what really sells the movie is the acting and one of the greats behind the camera that very smoothly visually feeds and engages us.
Review Coco by Jonathan Evans
(5 / 5)
Pixar’s Coco reminds us that this studio and the people working in it are creating some of the best, all ages animation out there right now and for years to come. That they are able to take colour and sounds and manipulate them to craft a journeys and characters that invoke laughs and tears within us.
Opening the movie is a story of a family told to us through the visuals of cut-out flags. So the visuals and information is very clear and smoothly delivered. It begins with a father, his wife and their child living their lives, the father wants to live his life of playing music for the people, so he leaves his wife and daughter. The mother doesn’t let this get her down so she becomes a master shoemaker and bans all music from her life, which becomes the way of her family.
The mother passes on and she is remembered for their Day of The Dead. The daughter remains as the very old Coco (Ana Ofelia Muruia, who the movie is named after), she doesn’t register much and mostly just sits in her wheel-chair. The head of the family is definitely the grandmother (Renee Victor). Everyone in the family is committed to the craft of making shoes and remembers their dearly departed loved ones, except for their great-great grandfather who abandoned them. But the youngest in the family Miguel (Anthony Gonzalez) loves music and wants to spend his life playing guitar and idolizes the deceased musician Ernesto de la Cruz (Benjamin Bratt). Miguel loves his family but also loves music and wont feel complete if he doesn’t pursue it. Going against his families wishes he enters a music competition, his grandmother smashed his guitar so he needs to find another, he sneaks into Ernesto’s memorial to use his, being that tonight is the Day of the Dead with one strum of the guitar Miguel is transported into the perspective of the dead.
Now his quest begins to find a way back to the land of the living before the sun rises, because if he doesn’t get out before then he’ll be stuck there forever. Through his journey he acquires companions (which must happen), there is Hector (Gael Garcia Bernal) a spirit that wants to get to the world of the living to see his daughter one last time and Dante a street dog that serves as his animal guide.
To say that the movie is well animated and the textures are convincing almost seems like a given. It’s Pixar, they’ve never delivered a movie that is lackluster in terms of the visual technology. As the years proceed the technology develops the graphics become sharper and sharper. What is more important than the mere sharpness of everything is the way it is used to clearly express emotions. They way you see a character’s face have an emotion clearly expressed and then it turns to something else shows an understanding on how to convey it to an audience.
Michael Giacchino creates a rousing Latino based score. Filled with trumpets and acoustic guitars.
I wont ruin anything but he does something were a song gets played again in different context and it is a masterful use of tone. I did find it ironic that there was a musical score playing over the scenes with the family, perhaps it would be better if the scene was completely without music while with the family.
Being that the majority of the movie takes place in this land and the people in it are skeletons they truly show their ability to work within limitations. I do feel a bit weird seeing skulls express, because they cant, because of their bones. But I digress, they get a vast amount of different character designs from skulls having them all shaped differently, they have a distinctive movement and pose and work in just about all the physical jokes you can out of skeletons, jaws dropping, eyes popping out, limbs being pulled off etc.
This movie comes out so close to The Book of Life. However this also goes to show how movies can distinguish themselves from merely the concept stage.
I have seen my share of movies and am aware of most of their tricks and the way things unfold. I don’t consider myself the hardest to please but I’m not the easiest of targets. However if a movie truly invokes a reaction from me then it means it has indeed done it’s job. In this movie I laughed an appropriate amount, was rather awed by the visuals and when it got near the end I did indeed shed tears (twice). This is a sign of the movies effectiveness and sincerity with it’s material.
Coco is the story about the love from your family, perusing your goals despite the odds and living your life so that the ones that remain when your gone have something to remember. No other culture exists that is about embracing what life has to offer while being aware of it’s inevitable end, so while were all here, lets make it worth it.
Jonathan Evans
Review Three Billboards Outside Ebbing, Missouri by Jonathan Evans
(5 / 5)
When people are treated badly it builds up resentment and anger and usually leads to them talking that out on other people. When they get treated with kindness they usually are themselves kinder people and interact more positively with others. It is difficult to break the cycle of cruelty and it’s not always the case of being kind to a person will make them kind also.
Our story stars with Three Billboards that are dilapidated because so few drive down the road because of the new highway. This goes noticed by Mildred (Francis McDormand). She goes to the office that owns the billboards and hires them out for a year (after clarifying that neither anything inflammatory or swear words can be on them) she gives a paper of what to put on them. While driving past, local police officer Dixon (Sam Rockwell) sees the first one that says “How come, Sheriff Willoughby?” the second reads “And still no arrests?” the third one “Raped while dying.”
Francis McDormand has more than a few great roles under her belt (Marge Gunderson in Fargo is probably the greatest example) and this is another. Mildred Hayes is completely steadfast in her belief in putting those billboards up. Others come to to persuade or intimidate and she is indentured. Along with that she is written with plenty of wit and gets to show beautiful vulnerability which makes her a completely fully realized character.
Writer and director Martin McDonagh has always made funny movies that are built on heavy emotional themes. I would classify both of his two previous movie as comedies. Here, instead of the comedy being more forefront, it is used to pepper some of the scenes. A scene either opens on a joke, is inserted in the middle or ends on it. This is a dark comedy (emphasis on the dark) but because of the very serious subject matter I doubt that people will be talking much about the laughs they had (they are here though).
McDonagh has been criticized for his portrayal of women in his previous work (which he made into a bit of a recurring gag in Seven Psychopaths), they were mostly gorgeous and either got beaten and/or killed (not very progressive). Here is a woman who’s story it is, who is the one that kicks off the story and holds true throughout it. This is indeed an amendment on his previous work.
The writing on the boards and revealing the details of why is merely our set-up. From there we get even deeper into the characters and the plot takes at least two brave turns. We have fun and moving moments with Sheriff Willoughby (Woody Harrelson) and Officer Dixon which are a mix of funny and poignant.
Through the movie we get well composed portrayals of people living their lives and how if you deal with people nicely they will probably repay that with kindness, if not then they’ll be bad to you or most certainly to someone else and then we’ll all be alone.
Jonathan Evans
Looking ahead in 2018 Culture, Creativity and Change!
In this article we look forward to a range of cultural highlights in 2018. Thanks to all of the creative artists involved for their own personal response.
Connor Allen, Actor and Playwright
I would have to say that one cultural highlight for 2018 that I cant wait for is Dennis Kelly’s Girls and Boys at The Royal Court directed by Lyndsey Turner. Last year I had the pleasure of watching Hamlet directed by Lyndsey Turner and it was breathtaking. So her vision partnered with Kelly’s writing can only bring great and spectacular things (hopefully!)
One for me closer to home is to see what brilliant work National Theatre Wales bring out for the anniversary of the NHS.
My personal hope for 2018 is to get my play about homelessness I have been writing, funded and performed. that would be a massive personal achievement for me.
Meredydd Barker, Playwright
I don’t plan because I like to wonder in the morning what I’ll go and see that night, but as far as theatre in 2018 is concerned, Owen Thomas’ The Wood at The Torch, Lisa Parry’s 2023 at Chapter and Maxine Peake in Beckett’s Happy Days at The Royal Exchange; those three in a very crowded field along with hoping for surprises in Edinburgh come August.
In contemporary art – whatever that means – Ragnar Kjartansson is at the National Museum Cardiff with a new performance piece (co-commissioned with Artes Mundi) called The Sky In The Room. It is a piece which will be played by a revolving roster of organists and sounds beautifully bonkers.
At some point this year I will see The Idles live because they want us to, as they say, “dance and laugh and sing in the face of adversity.” 2018 is going to need them and their beautiful clamour.
Rachel Boulton, Artistic Director, Motherlode Theatre
It seems like 2018 is going to be another great year for new theatre in Wales. Having seen a development stage of Cwmni Pluen’s next show, I’m really looking forward to seeing a final production from them this autumn. Pluen has a definitive performance style which I’m always excited to see. They’re also working in collaboration with charities during the development of the piece which I think sets a great precedent for future companies making new work. I also can’t wait to see National Theatre Wales’ Love Letter to the NHS. While the NHS is under siege from; medical companies charging them a fortune for treatment; government cuts; surgery closures; and an all time waiting list high; it’s important more than ever to support and celebrate our National Health Service in face of adversity.
My personal hope for the year is to successfully tour Motherlode’s next production Exodus. The piece was developed in Aberdare with generous support from our long term collaborators and co producers RCT Theatres and will be part of their year long 80th birthday celebrations, which includes lots of new work by exciting artists. Exodus is also supported by Creu Cymru, Bristol Old Vic, Night Out Wales and Chapter, touring to 12 venues across Wales before running in London. Gulp… I just hope we pull it off!”
Matthew Bulgo, Actor and Playwright
I’m really looking forward to seeing Louder is Not Always Clearer from Johnny Cotsen in February. I was disappointed to miss the work-in-progress of this as part of Experimentica last year so I’m glad I’ve got a second chance.
Elsewhere, I’m really looking forward to catching The Birthday Party (one of my favourite plays) in the West-end which has a stellar cast including Toby Jones and also The Twilight Zone from American playwright Anne Washburn which is at the Almeida. Later in the year, I’m really looking forward to catching Eyam at Shakespeare’s Globe which has been written by the very talented Matt Hartley and is being directed by Wales’ own Adele Thomas.
Gareth Coles, Voluntary Arts Wales Director / Cyfarwyddwr Celfyddydau Gwirfoddol Cymru
Recently I’ve been losing myself in the acoustic EPs of the guitarist Yvette Young who also writes and performs with the band Covet. She will be releasing a piano EP early this year, and having heard some snippets, I can’t wait to hear the whole thing.
On a personal creative note, I’m hoping to develop my drawing this year. I seem to have spent most of 2017 hurriedly sketching, but having developed the habit of drawing daily, it’s time I started working on some longer and more thoughtful pieces. I have also just started playing the piano again after many years’ hiatus, so I’m hoping my rusty playing will become slightly less objectionable by the end of the year.
Simon Coates, National Theatre Wales’, Head of Creative Development
Jonny Cotsen with Mr and Mrs Clark producing and touring Louder is not Always Clearer, a project I had the pleasure of supporting the development of in its early days with NTW.
Festival of the Voice in June for more incredible vocalists and a no-holds-barred look at the power of the voice. As well as our own NHS70 Festival of course, Theatr Genedlaethol Cymru’s Nyrsys by Bethan Marlow marking the 70th anniversary of the NHS.
The Terra Firma Spring Tour by NDCWales including the mesmeric Tundra by Roy Assaf. EXPERIMENTICA Festival at Chapter will back again for another year of live art from all over the UK and further afield in April.
And finally I am hoping to make it along to Abercych to join one of their experimental Twmpaths with Simon Whitehead and his collaborators.
Geoff Cripps, Board Member, Theatr na Nog, Creu Cymru and musician with Allan y Fan
The Cultural Events in 2018 that I am already booked into and greatly looking forward to seeing starts on Saturday 6th January with a visit to The Old Vic to see Rhys Ifans as Scrooge in the acclaimed production of “A Christmas Carol.” Just a few days later and we are off to the Bristol Old Vic to rendezvous with Emma Rice’s “The Little Match Girl”.
At the end of January I am delighted and privileged to return to Glasgow as one of the 180 delegates to Showcase Scotland – a very important element within the world’s greatest mid-winter music festival. The five days I will spend here will definitely kick away any lingering vestiges of mid-winter blues! Don’t know yet which artists I will see/hear in total but I am pleased that in the festival’s 25th anniversary year the Showcase Scotland partner is Ireland. Still hoping that one year Wales will create something of lasting value like this event which has had such a powerful impact on the development of Scottish Artists in an international setting.
Later in March I will definitely be re-visiting one of my favourite productions of 2017 – The Old Vic’s “Girl From The North Country” – now transferred to the Noel Coward Theatre in the West End. Go see it if you think Bob Dylan is a genius, go and see it if you don’t know what all the fuss is about and marvel at what Conor McPherson has concocted.
Encouraged by my own top management I am looking forward to seeing two inspirational dance productions at the WMC in April from Birmingham Royal Ballet and May from Sir Mathew Bourne’s New Adventures.
I have yet to pick what to see closer to home in the valleys but am looking forward to visiting RCT Theatres, The Borough Theatre and Blackwood Miner’s Institute on several occasions during the year.
My personal hopes for 2018 include doing my best to ensure that Theatr na nÓg builds on the great achievements of 2017, that Creu Cymru continues to be the essential organisation for the theatres and arts centres of Wales and, on a real personal note, that my band Allan Yn Y Fan have our most successful concert ever in Blackwood Miner’s Institute on 28th March!
I am sure that every other contributor will make their feelings known about “Brexit”, “POTUS”, the “Maybot” etc. etc but I am deliberately trying to keep this light-hearted.
Let’s hope that despite everything the Arts In Wales continue to deliver life-changing experiences, uncover nascent talent, connect more deeply with their communities and audiences. Finally I hope that BBC Wales finally delivers a year-round coverage of the Arts In Wales.
Dr Branwen Davies, Playwright
My Cultural highlights for 2018 so far are:
Theatr Geneaethol’s Y Tad
Pirates of the Carabina’s Relentless Unstoppabble Human Machine at Pontio Bangor January 16th-21st
Dirty Protest’s Lightspeed from Pembroke Dock by Mark Williams touring Wales in April and May
V&A’s Frida Kahlo Making Herself Up exhibition opening in June 2018.
My personal hope is to be continued to be inspired and surprised by writers and artists pushing boundaries and creating work that moves me and reminds me what it is to be human.
Peter Doran, Artistic Director, Torch Theatre Company
On a personal level, I’m really looking forward to directing our next production, The Wood by Owen Thomas; its always exciting to tackle a new piece of writing, one never really knows if it will quite come off as expected or hoped. Giving the success we had with Owen’s last play Grav (shortly to go to New York), we have high hopes but we know that there’s a great deal of hard work in front of us. I’m also working on it with two actors, whom I’ve never directed before (Ifan Huw Dafydd and Gwydion Rhys), so that gives an extra frisson.
Elsewhere, I always look forward to Vamos coming to the Torch; Vamos are a full mask company who do wonderful work, this season they are touring a piece about the war in Afganistan called A Brave Face, one to look out for. I loved Liverpool Everyman’s repertory season last year and I’ll be interested to see if the second season is as successful – A Clockwork Orange sticks out as a highlight for me.
NTW are coming to Pembrokeshire with The Tide Whisper – theatre in a boat off the Pembrokeshire Coast; you won’t get a better or more dramatic backdrop, let’s hope they compliment each other.
My personal hopes? That the true value of art and culture is appreciated and not seen as the icing on top of the cake. It’s not a commodity that can take it’s stand in the market place and compete; it has to be nurtured, supported, fed – if not, it will wither away and die.
Tom Goddard, Artist and Criw Celf Coordinator
In a time when Netflix is elevated to the role of religion, Shezad Dawood’s Leviathan satisfies our obsession with marathon box set watching, with this ten part film series. First at last year’s Venice Biennale and the series continues now at Mostyn, Llandudno in March.
Cardiff’s James Richards, who represented Wales in Venice last year, will be bringing Music for the Gift back home to Chapter opening at the end of February.
Ragnar Kjartansson, Artes Mundi 6 nominee, will return to Wales to present a brand-new performance piece, The Sky in a Room which will feature a series of revolving local organists performing the 1959 hit song “Il Cielo In Una Stanza” (The Sky in a Room) on the 1774 Sir Watkins Williams Wynn organ.
Chapter’s Experimentica, will roll into town again in April and is always guaranteed to raise a smile and challenge in equal measure with a real range of refreshing voices and ideas from the world of live art. NS Harsha, Artes Mundi 3 winner, will return to Wales at Glynn Vivian in Summer 2018 presenting screening printing, installation, sculpture and drawings.
Glynn Vivian will also be opening late once a month offering performance, music, workshops as well as curatorial opportunities for young people.
Simon Harris, Playwright and Director of Lucid
It would be a bit matey of me to select 2018 highlights from Wales, so the two things outside of Wales that I’d really like to see are Chris Goode’s staging of Derek Jarman’s Jubilee which has been at the Royal Exchange n Manchester and is going to the Lyric Hammersmith. Because punk’s not dead. The other is Dead Centre’s new production at the Schaubuhne of Shakespeare’s Last Play – partly to see the work and partly to go to Berlin as I’ve never been there and I’d like to go before the world ends.
I’m a little overwhelmed by how far away we are from how I’d like things to be in 2018. There’s so much to do in so many areas, it would be easy to give in and give up. But I’m drawn to some of the determined spirits out there and so my main hope for the sector is that we move to a more productive, more innovative, less hierarchical approach to making work. I would like to see some of the fake differences between Arts Council Wales portfolio and the remaining group of artists and companies done away with. I’d like to see individuals and companies allowed to apply for larger sums and for more extended periods of work, instead of one-off projects. Most of all I’d like to some vision that can lead to the release of the amazing potential of artists in Wales and their work. Oh, and a bit more honest dialogue and a lot less self-referential, self-congratulatory bulls**t.
Steffan Jones-Hughes, Director Oriel Davies
There’s so much exciting art to see in 2018!
January sees Nova open at Aberystwyth Arts Centre. An exciting exhibition of young contemporary artists originated by the Royal Cambrian Academy. Look out for inaugural award winner Paul Eastwood, and also Catrin Menai, Rory Duckhouse, and AJ Stockwell. Aberystwyth Arts Centre- 25.1-1.4 2018
February I can’t wait to see The Sky in a Room by Icelandic Artist, Ragnar Kjartansson. The exciting performance will see a series of revolving organists performing the 1959 hit song “Il Cielo In Una Stanza” (The Sky in a Room) on the 1774 Sir Watkins Williams Wynn organ, and will run from 3 February to 11 March at National Museum Cardiff.
Photographer Mike Perry’s exhibition Land/Sea opens at Mostyn, Llandudno in March and the Ffotogallery tour continues to Aberystwyth Arts Centre.
April: the moment everyone in Wrexham has been waiting for: The opening of Tŷ Pawb, the new galleries and market and cultural centre with Dydd Llun Pawb and the launch of “Is this Planet Earth?” curated by Angela Kingston and touring later in the year to Aberystwyth Arts Centre.
June sees The Oriel Davies Open inviting artists from Wales, UK and internationally through Open Call to show work. I’m on the selection panel along with Jane Simpson (artist & Director Galerie Simpson), Matthew Collings (writer and curator), Sacha Craddack (curator and writer. TBC), and Alex Boyd Jones, Curator OD. Oriel Davies Open 2018 23 June – 5 September.
In July Liverpool Biennial is back for a tenth edition with Beautiful World, where are you? Artists and audiences can reflect on a world of social, political and economic turmoil. Liverpool Biennial 2018 Beautiful world, where are you? 14 July – 28 October
The first week of August is always set aside for Y Lle Celf at The Eisteddfod Genedlaethol Cymru held this year at the Senedd, in Cardiff Bay
September at Oriel Davies Legion Projects (artist-curators Matthew Hughes and Una Hellewould) will explore witchcraft through curation of a group exhibition, inviting a diverse set of contemporary artistic practices to respond to key ideas around witchcraft.
Witchcraft project Oriel Davies 15 September – 7 November
October sees the opening of Artes Mundi 8 at the National Museum in Cardiff
My personal hopes are that 2018 will be a time of unleashing potential, harnessing prosperity and celebrating the power of community within society.
Paul Kaynes, Chief Executive Officer, National Dance Company Wales
Firstly the home team: NDCW are about to set off on our long Spring tour taking in all of Wales, the UK, Austria and Germany with works by Resident Choreographer Caroline Finn (in Cardiff you have another chance to see her beautiful, haunting FOLK) and the mesmerising Tundra by Marcos Morau – already an international hit. Later this year watch out for a contemporary dance-opera we’re presenting with Music Theatre Wales in October/November. It’s a beautiful work.
But what else? Artist James Richards’ mysterious work for the Venice Biennale last year is coming to Chapter in February and I’m interested in seeing again his exploration of hidden gay histories. Our former dancer and choreographer, Matteo Marfoglia, makes rich work of personal histories full of emotion and surprise, so I’ll be there for any performances. And I’ve already got my tickets for the RSC’s Cicero plays (Imperium) based on Robert Harris’s wonderful books, for WNO’s Don Giovanni in February and BBC NOW’s concert of work by Messiaen and Debussy in March. I’ll have to travel to London to see Ballet BC’s Emily Molnar new work based on works by Emily Dickinson and Jeanette Winterson: sounds intriguing. There’s a new Kate Atkinson novel coming up (always worth it) and a film adaptation of Sarah Waters’ creepy A Little Stranger. 2018 seems like it’s going to be a great year, at least culturally! Politically, all bets are off.
Angharad Lee, Theatre Director, Educator, Facilitator and Lecturer.
Cultural Highlights 2018:
2018 London International Mime Festival. Anything and everything that is shown here. Go go go…..
Personal hopes for 2018:
To finally see every organisation in Wales tackling all barriers to access, rather than relying on one or two organisations. Saying this, we have to upskill those creating the work at grassroots level for this to be achievable, so I hope to see lots of money being ploughed into this.
I hope my production of the musical The Last 5 Years comes to fruition and tours Wales Autumn 2018 as this has access at its heart and supports BSL as a culture.
I look forward to seeing our Opera Bites event expanding a little as well as some exciting developments with our 10 Minute Musicals project come to fruition. We have a sharing of this work at Millennium Centre, February 25th, Blackwood Miners Institute, February 27th and then we are sharing it at Focus Wales 2018 which is hugely exciting for this project and all the artists involved.
There is a piece I started to develop last year with Eddie Ladd based on Rapture by Carol Ann Duffy which we hope to pick up this year. It’s a piece very dear to me therefore I hope we make this work for us. Building in this there may be another exciting collaboration with Eddie in the pipeline. Watch this space. Our work compliments each other wonderfully.
I hope to see more of my daughter this year, drink less rose wine and get back into the gym at more regular intervals. I am also hoping to renovate my kitchen and become a better cook!! I have also vowed to explore the landscape I live within this year and reconnecting with nature a little.
Bethan Marlow, Writer
2018 feels like a fresh year. There’s a lot of courage in the air, people are standing up and shouting out, dirty secrets are no longer protected and new manifestos are being drawn. I’m crossing all my fingers that this also means that we’ll see fresh and courageous cultural activity all over Wales in all languages.
Some things are already drawing my attention like Mr and Mrs Clark’s “Louder is Not Always Clearer” with Johnny Cotsen
NTW’s Sisters and Common Wealth’s “Radical Acts”. I’m excited that this year promises a lot of developmental support for creatives both new and established with National Theatre Wales’ “Creative Development” and Theatr Genedlaethol’s “Theatr Gen Creu”. And speaking of change, I’m very excited to visit the Eisteddfod Genedlaethol this year with it’s new experiment of having no boundaries which will hopefully create a welcoming and inclusive environment for all of us living in Wales.
I hope we all, and I’m very much including myself here, have the courage to dig deep and create what we need and want to create this year. Not what we think people will go and see or what we think will tick funding boxes but what our guts are screaming for us to make.
David Mercatali, Associate Director, Sherman Theatre
I am hugely excited to be working with the fantastic Welsh writer Katherine Chandler and the next generation of acting talent on the world premiere of Buddy. The play is part of NEW:2018 and is a co-production between RWCMD and Sherman Theatre.
My wish for the New Year would be for anyone living in Cardiff who hasn’t been to the theatre yet to give it a go!
Michelle McTernan Actor and Playwright
I’m looking forward to so many cultural delights during 2018. It starts with an R&D for my first play “Bruises” which won the Script Slam at Pontardawe Arts Centre. Then my husband Christian Patterson opens at The Donmar Warehouse in “The Way of the World”. So I’ll be off to London where I hope to take in a few more plays. Here, I’m also looking forward to seeing The Wood by Owen Thomas, Nye and Jenny by Meredydd Barker and Dublin Carol by Conor McPherson at Sherman Theatre.
My personal hopes for 2018; In light of the funding threats to my local arts centre at Pontardawe, I hope that the people who make these detrimental decisions recognise the importance of the arts and their effect on our wellbeing. I hope that communities begin to make more use of all local arts centres and that artists and creatives have the freedom and funding to encourage and inspire those that are blind to its relevance in our society today.
Sharon Morgan, Actor and Writer
Dwi’n edrych ymlaen i weld Y Tad, cynhyrchiad diweddaraf y Theatr Genedlaethol gan Florian Zeller, cyfieithiad Geraint Lovgreen ( Ar daith 21 Chwef-16 Mawrth) gyda Dyfan Roberts yn y brif rhan. Cychwynnodd Dyfan a minnau’n gyrfaoedd gyda’n gilydd nol yn 1970! Hefyd cynhyrchiad Theatr Pena – Women of Flowers gan Sion Eirian ar ol Saunders Lewis (Ar daith 1 Chwef-9 Mawrth) gyda’r anhygoel Sara Lloyd Gregory fel Blodeuwedd. Dwi am fentro i Pafiliwn Bont ar gyfer ail-gread sinematig a barddonol Mike Pearson a Mike Brookes wrth iddyn nhw gychwyn ar brosiect tair blynedd gyda NTW o dan y teitl The Storm Cycle gyda Nothing Remains The Same (15-17 Chwef), a mae nhw’n addo seddau dan do! A tan gwyllt! Mewn cynhyrchiad amserol am ieithoedd lleiafrifol bydd Theatr Gwalia yn cyflwyno Inheriting The Gods Carmen Stephens am berthynas rhwng bachgen ifainc o lwyth y Wampanoag a Cymraes, a mae’r anhygoel Dirty Protest yn dathlu ei penblwyddd yn ddeg oed gyda drama Mark Williams Lightspeed from Pembroke Dock(Ar daith 4 Ebrill- 5 Fai)
Mae son bod cynhyrchiadau newydd ar y gweill gan Mercury, Neontopia a Triongl, a gobeithio bydd Na’Nog yn atgyfodi Nye and Jennie gan i mi ei fethu yn y Metropole yn Abertileri,a pwy a wyr pa ddanteithion daw i’n diddanu pan ddaw’r Eisteddfod i Gaerdydd ym mis Awst.
O’m rhan fy hun mae gen i brosiectau gyda’r Theatr Genedlaethol, Na’Nog, Theatrau RCT a Canoe a dwi’n gobeithio bydd fy sioe un menyw am Rachel Roberts (Yn Gymraeg) yn digwydd o’r diwedd!
I am looking forward to Theatr Genedlaethol’s latest production Y Tad ( Le Pere) by Florian Zeller trans. Geraint Lovgreen (Touring 21 Feb- 16 March) with Dyfan Roberts as the father. Dyfan and I began our careers together back in 1970! Also Theatr Pena’s production Women of Flowers by Sion Eirian after Saunders Lewis (Touring 1Feb-9 March) with the amazing Sara Lloyd Gregory as Blodeuwedd. I shall venture to Pontrhydfendigaid for a poetic and cinematic recreation by Mike Pearson and Mike Brookes as they embark on a three year project with NTW under the title The Storm Cycle with Nothing Remains The Same (15-17 Feb) and they promise seating- indoors! And fireworks! In a timely production about minority languages Theatr Gwalia presents Inheriting The Gods by Carmen Stephens about a relationship between a young man from the Wampanoag tribe and a young Welsh Woman and is touring Feb 26-March 24. The amazing Dirty Protest celebrate their tenth birthday with Mark Williams’ play Lightspeed from Pembroke Dock (Touring 4 April-5 May).
I hear that Mercury, Neontopia and Triongl are preparing exciting things and I hope Na’Nog will revive Nye and Jennie as I missed it at the Metropole in Abertillery, and who knows what delicacies the Eisteddfod will bring when it comes to Cardiff in August!
I have writing and performing projects with Theatr Genedlaethol, Na’Nog, RCT Theatres and Canoe and I really hope my one woman show about Rachel Roberts (in Welsh) will happen this year!
Catherine Paskell, Independent Theatre Director
I’m looking forward to loads of new original performance work happening in Wales this year, but if I had to pick only two, I would choose:
Jordan Brookes Body Of Work at Chapter on 2 June. I saw this show in Edinburgh, and Jordan was nominated for the 2017 Last Minute.Com Edinburgh Comedy Award for best show. That’s what the Perrier Award is now called, so it’s a pretty big deal and this was a pretty awesome show. It was one of the best comedy shows I saw in Edinburgh last year when Dirty Protest was there with Sugar Baby. I love Jordan’s comedy – I first saw him when he was living in Cardiff a few years ago and it was fantastic to see his work get the recognition he deserves. He’s on the performance art-end of comedy (but without being up its arse) and he’s one of my favourite weirdos.
Also, I really cannot wait for Split Britches’ Unexploded Ordances at the Wales Millenium Centre for a week this March. Peggy Shaw is a world renowned artist and I saw her show with Clod Ensemble Must: The Inside Story ten years ago at the Edinburgh Fringe. It made an impact on me then as she transfixed a Victorian anatomy theatre with a raw story full of poetry and heart and pain and medicine and art. It’s a real privilege for us to see artists of this calibre creating original work in Wales and this experience will be a must see, or rather as it’s interactive art: a “must do”.
Rachel Pedley Miller, Artistic Director, Avant Cymru
In 2018 Avant Cymru are planning a busy year with Forget Me Not in January and Blue Scar in the summer.
We are working with Rufus Mufasa on her album launch on the 16th of January. Looking forward to working with Rufus and Unity further on Welsh Hip Hop projects.
We are also excited to see Sisters Acting Up at the Riverfront this month and Grav at the Sherman Theatre in February.
We are really excited that NTW have launched their new creative development strands, we also are excited to see ehat the NH70 project has to offer. So much is happening in Wales and we are excited to be a part of it. Bring on 2018!
Jac Ifan Moore, Director and Co-Director of Powderhouse
Theatre
Dublin Carol – Sherman Theatre
Coming up in a few weeks at the Sherman. Connor McPherson, killer cast and directed by Matthew Xia. Come on, what more d’you want?
All But Gone – The Other Room
I’m really excited to see what Dan Jones will do now that he’s at the helm of The Other Room. This will be his first production as AD, and it’s a chance to see how he’s going to put his mark on that ambitious company.
Also…
Literally anything that’s on in London International Mime Festival, 10 Jan – 3 Feb, which for my money os one of the best times of year for theatre (don’t be put off by notions of striped t-shirts and glass boxes). Particularly looking forward to Trygve Wakenshaw’s Different Party.
Book
Tribe – Sebastian Junger
Collection of essays that span history, autobiography, anthropology and psychology. What we can learn from tribal societies, what we’ve lost, and why in the modern world we’re still craving companionship and meaning.Film
The Shape of Water – Dir. Guillermo del Toro
Guillermo del Toro’s latest film gets its UK release in February, and I’m looking forward to his particular mix of strangeness. Set to the bleak backdrop of 1960’s Baltimore, it’s apparently a love story between a mute woman and a water god. Yes please.
Lucy Owen, Journalist and writer
I’m looking forward to the Cardiff Kids Literature Festival in April this year. There will be loads of events going on and it’s a great chance to meet authors and illustrators and inspire children to pick up a book.
I am super excited that a book I’ve written for 6 – 8 year olds will be published in September too. It’s called ‘The Sea House’ and I’m really hoping children will love all the characters, particularly my favourite – a brave, sparkly little fish called Fabulous!
Marc Rees Creator and curator of installation and performance
You might have seen my crestfallen face captured on the news when it was announced that Swansea didn’t win the UK City of Culture crown for 2021? Perhaps if we’d gone with the abbreviated SUKCOC ( Swansea UK City Of Culture ) it might have been a different story?I really did think that it was Swansea’s time to shine and to quote the city’s very own big haired 80’s pop icon … we could have turned it around . However there are still exciting plans afoot and one that is very close to my heart is still under wraps till the end of January but I want to mention it as it’s certainly something that I’m really looking forward to getting my teeth into in 2018.
Essentially it’s an immersive Requiem that will kickstart the Swansea International Festival 2018 – written by a twice Oscar nominated composer with a libretto by a BAFTA Cymru winning writer, sung by a world renowned choir and with a wrap around narrative led by the formidable force that is Eddie Ladd. Watch this camouflaged space.
Details will be announced on 26.01.18 via
https://www.nowthehero.wales
Alexandria Riley Actress
For 2018 I’m very much looking forward to hearing more cultural stories being told by people of a diverse background. Great things are happening already but there’s still such a way to go. ‘Fio’ are doing some amazing work right now providing opportunities for BAME actors, writers and directors to showcase work and are providing a great accessible outlet.
I’m involved in TWO amazing plays with full diverse teams this year. One of them which tells a story from voices we don’t often hear from. I am working with phenomenal actors all from diverse backgrounds and I cannot wait! The plays are wonderful and I’m really honoured to be a part of it all! The theatres we are performing in are equally brilliant! Wales is a place of character, diversity and rich culture. So I look forward to us continuing to move forward within the arts and really show what we are made of.
Keiron Self, Actor and Playwright
I’m very much looking forward to Light Speed from Pembroke Dock, a family friendly and Star Wars friendly theatre show from Dirty Protest as part of their 10th anniversary. I have been lucky enough to have a few pieces perfomed by them and their stalwart crew and have a soft spot in my heart for all involved. I also saw an Rand D of the show and it touched a nostalgic string in my heart, it being about fathers and sons and a certain sic-fi film – essentially a taste of my youth.
I’m also looking forward to films coming out in February The Shape of Water Guillermo Del Toro’s new fantasy masterpiece about a love affair between a woman and a Black Lagoon-esque creature in Cold War America. I’m a great fan of Del Toro, especially Pan’s Labyrinth, and this ranks right up there next to them. Also in February Lady Bird is a film from Greta Gerwig, a fantastic indie actress making her directorial debut with a well observed coming of age talk between a mother and a daughter starring Saoirse Ronan and Laurie Metcalf.
Looking forward to The Dublin Carol at The Sherman and The Wood from Owen Thomas about Mametz, my play The White Feather also about World War One is being restaged by Theatr na nÓg in the Autumn so I’m obviously and selfishly excited about that too. There are many more things to get excited about of course, here’s hoping 2018 provides an exciting buzzy year for theatre and the arts throughout Wales.
Lleucu Siencyn, Chief Executive, Literature Wales
I’m very much looking forward to a bumper year of culture in 2018. Many people interested in the arts in Wales will already be filling up their diaries.
One of the events I’m especially looking forward to is the National Eisteddfod (3-11 August, Cardiff), as it takes place this year right outside my office window in Cardiff Bay. For the first time in decades, the “Maes” (the festival site) will not be held in a field, and visitors will be able to come in and out as they chose, paying for each event individually. The “no-fence” Eisteddfod offers exciting opportunities to try out new activities, appealing to a wide range of audiences and celebrating the best of Welsh culture in all its forms.
For a relatively small country, Wales punches well above its weight in terms of literature festivals. As well as the world-renowned Hay Festival (24 May – 3 June), many more have appeared in recent years, including the excellent Cardiff Children’s Literature Festival (21-29 April) and the Cardiff Book Festival (7-9 September 2018). I’m particularly looking forward to the newest addition to the calendar, the Seren Poetry Festival at the Cornerstone building in Cardiff (16-18 February).
But there’s plenty to do outside the Capital, and throughout the year you’ll find literature festivals in Laugharne (6-8 April), Llandeilo (27-29 April), Wrexham (Carnival of Words 21-28 April), Llansteffan (7-10 June), Caernarfon (Gŵyl Arall – July), Penarth (July), Caerleon (Lit on the Lawn – July), Hawarden (Gladfest – September) and Cardigan (Gŵyl y Cynhaeaf – October) – to name but a few! 2018 also sees the return and 25th anniversary of the Beyond the Border Storytelling Festival.
Pembrokeshire should take the prize for being the most bountiful county, with literature festivals in Solva (The Edge Festival – 2-5 August), Llangwm (10-12 August) and Rhosygilwen (PENfro Book Festival – September). These festivals would not take place without the dedicated efforts of community activists who believe in bringing people together and sharing a love for words. And the success of many depend on their brilliant local independent book shops.
If your dream is to take part in one of these festivals as a featured writer one day, then you should consider booking on one of the courses at Tŷ Newydd Writing Centre: www.tynewydd.wales. The many highlights include a Creative Writing for Welsh Learners course (16-18 March with Bethan Gwanas and Eilir Jones), Songs and Lyric Writing (9-14 April with Willy Russell and Stewart Henderson), Poetry: Writing about Life (20-25 August with Lemn Sissay, Sophie McKeand and Zoë Skoulding) and Writing a Novel (24-28 September with Louise de Bernière and Wales Book of the Year winner Alys Conran). There is something for everyone this year at this very special place.
I’m looking forward to seeing the completion of the epic 50ft mural by artist Pete Fowler on the iconic Water Tower at Cardiff Central Station. Inspired by the stories of the Mabinogi, the mural is part of the Weird and Wonderful Wales project by Literature Wales and Cadw. The work began before Christmas, but was suspended because of bad weather. The work will continue soon and remain in place throughout 2018, when visitors from all across the globe will see it when they visit Cardiff for events such as the Volvo Ocean Race as part of Year of the Sea.
The Wales Book of the Year award is set to be another great event this year, with the ceremony scheduled to take place in the summer. Announcements will be made in March – so keep an eye out on Literature Wales’ website for details. In the meantime, I was thrilled to see that last year’s winner Pigeon (Parthian Books) by Alys Conran, is being serialised in the Western Mail. Also, the Roland Mathias Poetry Evening will take place on 23 February at The Muse, Brecon, featuring John Freeman, winner of last year’s Wales Book of the Year Roland Mathias Poetry Award, with Jonathan Edwards chairing the event.
Last year the National Poet of Wales, Ifor ap Glyn, with funding from Welsh Government and support by Cymru’n Cofio Wales Remembers (1914-1918), created and toured a multi-lingual multi-media show on poet Hedd Wyn called Y Gadair Wag/ The Empty Chair, directed by Ian Rowlands. It premiered at Yr Ysgwrn, the poet’s home at Trawsfynydd which recently opened as a visitor’s centre. By popular demand, the hope is to tour more extensively in 2018, taking in locations throughout Wales, as well as the UK and Ireland. 2018 will see the announcement by Literature Wales of a new Young People’s Laureate, as Sophie McKeand’s hugely successful two-year stint comes to an end in spring.
2018 marks 70 years since the creation of the NHS, which was established by the great Welsh politician and orator Aneurin Bevan. It’s worth keeping an eye out for cultural celebrations of this significant milestone, including a series of productions throughout Wales by the two national theatre companies, Theatr Genedlaethol Cymru and National Theatre Wales.
In other art-forms, I’m looking forward to the return of Festival of the Voice to the Wales Millennium Centre (7-17 June), the Urdd Eisteddfod celebration of youth culture at Builth Wells (28 May – 2 June), the Swansea International Festival (October 2018) and the international art prize Artes Mundi at National Museum Wales (from 27 October). National Dance Company Wales’ Terra Firma tour takes place in Spring and will be well worth a look. Last year I very much enjoyed the collaborative concerts between the orchestras of WNO and BBC NOW, and I hope to catch a few this year as well. I can also highly recommend Rungano Nyoni’s debut award-winning film funded by Ffilm Cymru Wales, I Am Not A Witch, which will be out on DVD in February.
Like many others, I was very disappointed that Wales missed out on qualifying for the 2018 FIFA World Cup, having enjoyed myself immensely in France in 2016. However, this year I can kick back, enjoy the games relatively stress-free, and pick a couple of nice countries to support. Come on Iceland!
Alastair Sill, Audio Describer for Theatre
I’m really looking forward to watching Owen Thomas’ new play, The Wood by The Torch Theatre. The Wood is inspired by a true story and commemorates the centenary of World War I. Yes, I can’t wait for that one. Another highlight has to be the Festival of Voice between 7th June and 17th June, at locations around Cardiff, created by the Wales Millennium Centre. I really want to try and get down to The Other Room this year because there’s nothing else like it in Cardiff. And anything by Gagglebabble is always fantastic!
Then personally first of all, I hope I have a happy, healthy and fun year with my two boys and girlfriend. Second, I hope York City FC find promotion to the National League, the first step back to the football league. And last, I hope to record lots of funny little anecdotes from my two boys and write a children’s story inspired by their unique craziness!
Jennifer Ruth Sturt, Assistant Producer, Wales Millennium Centre
Thinking ahead to what 2018 has in store is at once terrifying and overwhelmingly exciting. This year is set to be full on, but hugely inspiring year for us at the Centre. With the launch of two new seasons of programmed work in the Weston Studio and ffresh alongside the return of our biannual international arts festival, Festival of Voice. This year, we’re creating a number of co-productions with some incredible Welsh artists and companies and I’m really proud to be part of the team helping to make them happen. As Cardiff embraces it’s title of Music City, the in-house Festival of Voice team have created a programme of work that really celebrates voice in all it’s guises and alongside an ambitious Creative Learning programme allows us to explore the positive impact of collective singing and creative expression. With just six months to go, I can’t wait for what this year’s festival has in store.
Personally, I’m looking forward to many more adventures in 2018 with plans to travel to New Zealand and Canada, see my best friend get married and all being well, get back out on the road and finally get a half marathon under my belt- fingers crossed.
Geinor Styles, Artistic Director, Theatr na nÓg
My cultural highlights would be anything Theatr na nÓg does – obvs… and also the things I am looking forward to seeing and then probably missing because I’ve double booked myself or completely forgotten they were on…
So if someone can remind me then that would be great…
First up is to see the genius choreographer Matthew Bourne’s Cinderella at Wales Millennium Centre in April, he is without doubt the best storyteller you will see in any medium – IMHO.
The second show for me will be the hugely ambitious adaptation of Patrick Ness’s award-winning children’s novel A Monster Calls which will be brought to life at the Bristol Old Vic (31 May – 16 June) by the incredible talented director Sally Cookson. The film broke my heart, so I cannot wait to see it live on stage.
Then the show I will definitely want to see before it heads off to New York, because I missed it the first couple of times round is Grav, an amazing achievement for a theatre company in far west Wales – The Torch to get it to the stage in New York after sell out shows here in Wales and Edinburgh. Congratulations to the creative team for taking a true Welsh hero and exporting it far and wide.
Even though I hate overhyped shows, I must see Hamilton this year. I think the story is incredible and an important one to hear and see in this strange uncertain time. – even though he did the music to Moana!
The Frida Kahlo is a definite must see at the V&A exhibition in London. If I miss this then Coco by Pixar will surely satisfy my Kahlo obsession (yes, you heard it here first)
There will also be a Suffragette exhibition at Swansea Museum to celebrate 100 years of the Women getting to vote. So much has been accomplished and also so much more work to do.
I also hear that Fleetwood Mac are going to tour this year specially for my birthday, so be rude not to!
Adele Thomas, Director
The play I’m most looking forward to in 2018 is John by Annie Baker, in a new production at the National Theatre. Annie is probably our greatest living dramatist. She writes with a delicacy and a humanity that make Checkhov look positively cartoonish. Her plays The Flick and Circle Mirror Transformation are amongst my favourite evenings in the theatre, and James McDonald (who directed Circle Mirror Transformation) is directing John, which makes it doubly exciting. I can’t tell you anything about what the play’s about.
My New Years Resolution is “Avoid the Algorithm”. So much internet noise and being in the industry means that by the time you’ve read the endless marketing and faced the constant stream of twitter criticism you go into the theatre too equipped to watch the play. Imagine being in the first audience for Macbeth or The Cherry Orchard or Blasted or Machinal. You would be entering the auditorium with true openness. As an audience member you might be shocked or bored or moved to tears, but your experience would be an truly honest one, a direct and unadulterated relationship between you and the play. What a gorgeous idea
Sami Thorpe, co-founder Elbow Room Theatre Company and BSL Interpreter
Sami shares her thoughts in BSL in the video below
There is so much to look forward to in 2018. I cannot wait to see Jonny Cotsen’s ‘Louder is Not Always Clearer’, it’s so important to see diverse stories on the stage and, as someone who has been involved with the Deaf community for a number of years, I’m very excited by it. I’m also looking forward to the drag acts coming to Cardiff this year, especially Klub Kids’ ‘The Twisted Circus’, which I shall be fangirling all over!
My personal hope for 2018 is that as an industry we work together to continue to diversify our audiences, sharing ideas and good practice is key. Be brave, take risks, learn and grow.
Rachel Trezise, Novelist and Playwright
I’m really looking forward to seeing Dublin Carol at the Sherman studio in early February and also The Laugharne Weekend in early April and obviously I’m very excited about the new Manics’ album, Resistance is Futile, due in April. I’m one of the judges for the International Dylan Thomas Prize this year so I’m looking forward to reading lots of new fiction.
More personally I hope to make some good progress on the house I’ve been trying to build for almost two years so that I get a functional writing space back by the end of the year!
Tom Wentworth, Playwright
2018 looks set to be an exciting year. Currently I’m looking forward to two exciting pieces in Wales. Jonny Cotsen’s Louder Is Not Always Clearer – I went to an early sharing and so it will be fascinating to see how it has developed. Also Kaite O’Reilly, Sara Beer and Philip Zarrilli’s collaboration richard III redux [or] ‘Sara Beer [is/not] richard III’ – it sounds as though it will be the most amazing piece performed by one of Wales’ finest actors. Further afield I can’t wait for Simon Longman’s Gundog at the Royal Court. Simon was my mentor and has become a friend so it’s especially exciting to see his work on a big stage.
Personally, I’m looking forward to my new version of Burke and Hare being performed at Newbury’s Watermill Theatre before heading off around Berkshire on tour during April/May; plus I have a short reading at The Bush Theatre in London in March as the culmination of a year on their Emerging Writers’ Group plus who knows? (I’d also like some sleep in 2018 too!)
Nickie Miles-Wildin, RTYDS, Resident Assistant Director, Manchester Royal Exchange Theatre
I’m sat at my desk at The Royal Exchange Theatre and there’s so much that I’m looking forward to this year. Being Resident Assistant Director in this amazing building is opening up many great opportunities for me. My highlights are Frankenstein directed by Matthew Xia. 200 years after its publication in January 2018 Matthew is directing a new version by April De Angelis – a writer whose work I enjoy. (Playhouse Creatures is brilliant) Being assistant director on this show I am already in the depths of research and know that the cast is going to truly bring the story to life on our stage.
I’m also looking forward to working with the Young Company up here on their production of Mix Tape. Working closely with Matt Hassall – Programme Leader for the Young Company and composer James Frewer, Manchester will be given its own mix tape.
In the summer I can’t wait to be my alter ego Beryl as I tour a handful of festivals with Bingo Lingo alongside my co-star Daryl and his alter ego Cyril. It’s Bingo on a Paralympic Scale. The Without Walls festivals are an absolute joy to be at and to discover new work.
For me 2018 will be one of exciting creative work indoors at the theatre and a summer of amazing interactive playful outdoor work.
And Deaf actor Nadia Nadarajah being part of the new ensemble company at the Globe. Hopefully we’ll see more Deaf and Disabled creatives leading the way.
Matthew Xia, Director
I’m really looking forward to making some work across England and Wales this year. I’m starting with Dublin Carol – the Conor McPherson play about an alcoholic Undertaker being confronted with the life he has lived, and the others he has broken. It’s playing at Sherman Theatre in Cardiff from the 5th of February for two weeks. I then head up to the Manchester Royal Exchange to make a brand new Frankenstein adapted for the stage by April de’Angelis before directing the premier of the Alfred Fagon Award winning play Shebeen by Nottingham writer Mufaro Makubika. The show, starring Karl Collins will be presented at the Nottingham Playhouse and Theatre Royal Stratford East in June.
As far as things on my radar this year I’m of course hoping to catch Hamilton at some point – although not at those prices. I’m hugely excited to see what seasons of work are presented by the new Artistic Directors including Kwame Kwei-Amah at the Young Vic , Nadia Fall at Stratford East and Justin Audibert at the Unicorn. I’m very excited to see Maxine Peak play Winnie in Happy Days directed by one of my favourite directors and humans, Sarah Frankcom at the Manchester Royal Exchange. I’m also thrilled that Roy Alexander Weise is presenting work at the National with Nine Nights. Other theatres worth keeping an eye on include The Yard and The Bush.
My hopes for the year are simple – let’s try not to destroy the planet, let’s remain kind.
For some of us this seems like an easy goal.
Review Jumanji Welcome to the Jungle by Jonathan Evans
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Before the review begins I must tell you something. When I was young Jumanji was a movie that I loved and watched many times. In the movie there is a scene where Alan Parrish (Robin Williams) describes what it is like to be inside the world of Jumanji itself. He describes a place of terrors where things do in deed go bump in the night and worse. This description stuck with me for years. When they made an animated series about it we got to see inside Jumanji and it was indeed a place of many terrors. This movie does not seek to give us such a place so that is a gripe I have but have to put aside for professional reasons. Onto the review.
Jumanji: Welcome to the Jungle is a self aware action movie that does everything these movies do but at the same time pokes fun of itself for being said cliche action movie. So it’s a little more refreshing and forgivable than most movies of this sort.
This is a “”sort of sequel” where there was a movie that came before but this move doesn’t need to dwell on it too much, merely take the story engine and run with it. There is a magical game called Jumanji which throws difficulties at the players and gives clues and they must make it to the end.
It opens in 1996 on a beach where some pedestrian finds a wooden board-game and brings it home. The man is unimpressed with a board game and more interested in his PlayStation, so it transforms itself into a gaming console. In recent years board-games have made a resurgence so it seems to be a case of bad timing. In becoming a gaming console the man plays it and disappears, cut to present day.
We are then introduced to a new group of teenage characters living their lives and attending school. Through acts of their own faults they all receive detention and must serve it together even though they would never hangout together usually (ala The Breakfast Club). The do barely anything before they get distracted and find the gaming console of Jumanji, plug it in and are sucked into the jungle world.
When they land inside the jungle they become the avatars they picked. Spencer is Dr Smolder Bravestone (Dwayne Johnson) a peak specimen of physicality yet is offset by his germophobe, neurotic personality on the inside. Matha is Ruby Roundhouse (Karen Gillian) a beauty that is dressed impractically for an action adventure (most likely because she was designed by a man). Fridge becomes the short sidekick Franklin “Mouse” Finbar (Kevin Hart) with probably the shortest list of skills and longest list of weaknesses. Then there’s Bethany that goes from a teenage beauty queen to Shelly Oberon (Jack Black) an overweight, middle aged man. Being that they are filling in stereotypical roles that are preset and the characters are playing then against the what their roles call for it adds a funner dynamic to the situation and comedy.
The villain (Bobby Cannavale) is an explorer that has gone mad with power and seeks to gem and also his time with has granted him the power to control the creatures in the world and one of his eyes to turn white (for some reason). He exists to simply be an antagonist and is rather non-threatening and quite forgettable.
The world of Jumanji is one where there are many threats and traps so the players have to keeps their wits about them and utilize their skills to navigate the world. Also classic to old-school games, they have three lives.
There are a few references that are in the movie to the original. They go by quick but also don’t slow down the passe of the movie. As a fan I actually did appreciate these and for someone that never seen it they’re not a detriment.
The movie does everything that an action movie is suppose to do but it comes with characters that are self aware and poke fun of their situation so it is less monotonous than the many other movies of this genre. It sets up its rules and they are utilised for plot reasons and aren’t broken, so the whole is rather solid. There are lines that will date it terribly and it still is a clichéd action movie but at lest it has fun with itself and so do we.
Review Molly’s Game by Jonathan Evans
(3 / 5)
Molly’s Game is a movie about a woman in a mans world that plays the game better than them. She encounters some that are her lesser, others that underestimate her and a few that stand on her level.
Opening the movie is a fast passe flashback were the title character Molly, recounts how in her teens that she was on her way to being a very successful skier but there are many elements that effect everything, one of them causes her to loose balance and take a bad fall. No more skiing. Then cut to her receiving a phone call telling her to come to the door to be arrested. We then get a flashback of her years later where she falls into a job where (for a sleazy Hollywood faker) hosts a poker game hosted by high rollers. This gets her big money and eventually takes over through skill and wit.
There seems to be a trend of telling a story out of order chronologically. I understand why for the purpose of this movie but whats wrong with telling your story in a perfectly sound and natural way? I worry it will become a trend that will hold no benefits, only an excuse for the writers to show off.
Because of the charges she needs a lawyer. She finds Charlie Jaffey (Idris Elba), who is indeed competent but also not shady (something Molly wanted specifically). Through their preparations Molly is grilled about what she really knew about the people playing in those games and giving up all the names of the people that played at them. She refuses because the details could endanger her but also ruin lives.
Chastain plays Molly as someone that is a well tuned machine. Controlling of her situation and little enough of an ego to let insults and bad manners wash off her. She has little to physically do beyond walking down hallways is designer clothing and heels and typing away at a keyboard but you can see her clockwork-like thought process happening under the surface.
Writer Director Aaron Sorkin is clearly interested in highly motivated characters wrapped up in legal controversies. Look to Charlie Wilson’s War and The Social Network for other examples of this theme and his work.
A lot happens to Molly and she has to deal with a lot of details and adsorb information constantly (as well as the audience). So there is a lot of dialog that goes by very fast so you will have to pay attention. The movie is mostly made of Molly explaining the situation or her mentality which is shown with swooping camera movements or montage edits or one on one dialog scenes where the characters and virtually dueling with their words or a character gets to land a big meaty speech. Sorkin however, wisely makes the whole thing more digestible by having moments of ambiance and static shots that allow the information and mood the settle. Even with these moments to catch your breathe the passe is still very fast.
The story is a highly fascinating one and told by a creator that is very confident in their craft. Though he may be too confident. It just goes by too fast at times because the actors need to fit in all the dialog which can frankly be cut down. Solid performances, an enticing concept and well made, though the heavy load of information that it asks us to digest subtracts from the whole.