Category Archives: Music

Review Lovecraft (not the sex shop in cardiff), Carys Eleri- By Rhys Payne

4.5 out of 5 stars (4.5 / 5)

Walking into Fresh at the Wales Millennium Centre, I had no idea what to expect from the show titled Lovecraft. Strangely the thing that sprung to mind was that it is a sex shop (I have heard!) located in Cardiff which was a joke repeated many times throughout this show. However, this isn’t just crude and hilarious show but also carries a very important message about combatting loneliness which is an issue that affects many, many people even today.

This show was co-produced by Carys Eleri alongside Wales Millennium Centre themselves. Lovecraft (Not the sex shop in Cardiff) is a one women show that was ‘hosted’ as such by Carys herself. She was an incredibly awesome host as she possesses a very loveable and friendly personality which the audience instantly warm to. The material within the show was relatable to all ages (above about 16) as she discusses issues such as relationships, alcohol and social media which made every single member of the audience, despite their age, feel as if Carys was talking directly to them and talking about issues they may have ever experienced. This was very clever and helped to make the comical aspects of the show even more hilarious as it was all based on real-life experiences. She delivered these touches of humour moments excellently but also managed to carefully manipulate the mood the incorporate the more serious and important messages of the show such as relationships going wrong and loneliness etc.

This show does contain very strong language, mature themes and sexual references which means it is not appropriate for children and also young audience members may not relate to the messages of the show as much as more mature members of the audience would. Some of these ideas were portrayed through song which is, in my opinion, very unusual but in this case, it worked excellently. Obviously many of these songs were comical but Carys has an incredible voice and so it was actually marvellous to listen to the singing itself instead of just the lyrics. Carys is clearly a very talented performer and she managed to develop a way to showcase her skills excellently in this show without it seeming like she is showing off which was great. In fact, the album of the songs is available across all music streaming platforms so if you want to have a listen just search for Lovecraft and have a listen.

The combination of hilarity and musicality of this show makes it an excellent choice if you are looking for someone to watch of your next girls night as it would be a fantastic thing to watch with a group of friendship and you can even grab a bottle of wine in the bar to complete the evening.

What was also unique about this show was that towards the beginning the audience were encouraged to turn to the person next to them and give them a hug as a way to test the chemical reactions in the brain and also towards the middle of the show the audience were each given a piece of lint chocolate. Both of these things are things I have never experienced before and helped add to the uniqueness of this show.

All that I knew about this show is that it had been performed at the Adelaide fringe festival and it is clear this show has been designed accordingly. The ‘set’ is simply two screens and a microphone but Carys has a huge sense of stage presence which means that anything else would be a distraction. This makes the show very easy to transport and your around and one day I hope to see a huge nationwide tour of this production as it is a unique show that everyone (age-appropriate) needs to see. As well as being hilarious and musical it is also somewhat educational. It was billed as the ‘science musical about love’ like it at certain points teaches the audience about the chemicals involved in love and how they are caused etc. This was something I did not know before walking into this show as so it was an educational experience for me personally.

Overall this is an incredibly uniquely hilarious musical that is unlike anything I have ever seen before with a fantastically talented host and moments of education. If you are interested in a comedy musical journey through love then this is the show for you. I would rate this as 4 and a half stars out of 5 and would recommend it as your next girls night out show. This show will be in the Millennium on the 29th and there will be a special welsh version of the show on the 30th so I would encourage you to catch it if you can!

Review Les Misérables, Cameron Mackintosh, Wales Millenium Centre By Rhys Payne

5 out of 5 stars (5 / 5)

Many people have said that you can’t call yourself a true musical theatre fan unless you have seen Les Miserables and I have to be honest I watched the movie for the first time two weeks ago and while that was good, this production at the Wales Millennium Centre knocks spots off the classic film. The show managed to touch on many keys moments from the film for people who are only familiar to Les Mis through the film (myself included) but also managed to alter it enough as a stage show to be different to the other versions going around.

The thing about this show is that most people have heard of it or seen it and as there have been so many adaptations and versions the bar is already set very high. But still there manages to be a massive excitement about the show, inside the actual theatre you could feel the excitement in the air before the show even started and even during the interval. After the show, there was a massive buzz that every single person could feel. It says a lot about a show where every single person in the audience gives a standing ovation at the end. Like the film, this musical is an opera and so there is no dialogue in the entire show but instead, the whole thing is sung. This is obviously a fantastic way to promote this genre as many people say “I hate opera” but at the same time ignore musicals such as Les Mis and Jesus Christ Superstar as operas. Seeing an opera in mainstream musical ‘world’ is obviously great and it may encourage people to watch other operas when they can.

One of my criticism for the film is that the time frames are at times hard to follow (I enjoy laughing about this fact in the film, every time I looked at the screen Hugh Jackman was a different age) but this stage version managed to make this one setting easy to follow. When the opening show discusses the backgrounds of certain characters, there was a blackout with the title ‘Les Miserable’ spread across the backdrop sort of like there would be in a film etc. This was obviously done to signify that the opening scene took place before the main part of the story and allows the audience to take in key and important details that will reappear later in the show. I never thought that Les Mis would be a very tech-based show as I thought it was just about authentic drama and singing but the effects they used specifically in this production were incredible. Some key technical aspects to look for in the show were how they managed to excellently stage the gunshots with lights, how a certain iconic suicide is staged and the use of high-raise buildings on stage. These buildings were flawlessly used to help cover the scene changes that happened while other scenes were taking place which was a genius way to keep the show going while also being beautiful to watch.

Every member of the cast was fantastic in this production and a special appreciation needs to give to the ensemble of this performance who clearly worked very hard both acting and singing was to support the key characters. The choruses singing was amazing and really helped to add to the drama of the show. A lot of the pressure was set on the shoulders of Dean Chisnall who took on the role of Jean Valjean as this is one of the most important roles in this musical but Dean seemed to reveal in this pressure and turned out an excellent performance. His voice was incredible throughout but a highlight for me was ‘Bring Him Home’ which was so powerfully performed that many of the audience members were moved to tears. He also managed to portray the various stages of this character perfectly including the later part of his life which shows Dean’s range of acting ability.

Marius is the character which is Supposed in love and Pursuing the daughter of Jean Valjean. This character was played by the fresh-faced Felix Mosse who fitted the role perfectly. He has a massive sense of naivety, innocence and likability about him which is perfect for the love-hungry character. Also, Felix has a youngish appearance which worked really well with this character who is apparently a student. Not only this but yet again Felix was a very talented singer who performed songs such as ‘Empty Chairs, Empty Tables’ both incredibly heartfelt and beautifully. His duet of ‘little fall of rain’ alongside Frances Mayli McCain (who played Eponine) was incredibly emotional to watch and these two clearly have great chemistry on and off stage. Felix Mosse is an actor who I look forward to seeing in future productions as I believe he has a very bright future in the performing industry. Nic Greenshields, who played Javert was absolutely incredible. His physicalisation as Javert was perfect as it showed his sense of superiority over the rest of the villagers. His voice was that of an authoritative person but also he managed to blend to the desperation of the character beautifully. Nic clearly has a high level of professionalism and experience which he truest showcased in this role. The highlight of his character, however, was their singing inability. ‘Stars’ was out of this world! It was beautifully performed with a strong sense of power behind it. Nic excelled in this role and I cannot wait to see where he end up in the performing world as he clearly has massive talent.



The two gems in this performance were Thenardier and his wife (who were played Ian Hughes and Helen Walsh respectively) who delivered many of the comical moments in this show. There were hilarious throughout and didn’t miss a single joke which can be very difficult in musical. ‘Master of the House’ was an excellent number that was not only performed excellently but also involved an astonishing sleight of hand tricks which wowed even me. The quick movement of and stealing of objects was a marvel to watch and clearly they had worked hard to make this scene as smooth and flawless as possible which should be applauded. Also, the musical number ‘Beggars at the Feast’ was also performed by this double act which they performed excellently while wearing the most elaborate and over the top costumes I have ever seen.



Overall this was a near-flawless introduction into the musical world of Les Miserable and it is definitely a musical that I would watch again if I had the chance. This is a show that loves drama and delivers it by the bucket full throughout so if you are into that sort of show them this is definitely one for you. I would rate this show 5 out of 5 stars.

Review Les Misérables, Cameron Mackintosh, Wales Millenium Centre By Becky Johnson

An eclectic evening of wonder, passion and skill.

What an incredible first experience of the infamous Les Misérables. So much thought and care had been given to each and every part of the evenings’ performance. It was this specific attention to detail that really drew the audience into the world of pre-revolutionary France.

Firstly, the set, Wow! The set used a mixture of visual effects alongside moving structures to create an immersive experience for the audience. The onstage set, predominantly wooden, was etched with details. From small engraved phrases to the layering of different components. The visual effects truly brought the set to life by adding intricacies to things that would otherwise be forgotten. Such as the water rippling and the stars twinkling. But only ever so slightly, just enough for you to question whether it’s really there at all or just your mind playing tricks on you.

The lighting played such a crucial role within the piece. Alongside the projected visual effects, it would bring a sense of realism to what was occurring on stage. An image of the meeting of the revolutionaries comes to mind. The light seeping through the barred windows, reflecting off the faces of the Males whilst they walked through the shadows making small talk with one and another. It was also with moments like the gunshots, where a bright light would suddenly glare, making the plot more accessible to the audience.

Even in the way the actors spoke it was evident the clarity and precision in which they gave out their words. Those deemed more common were usually paired with a Northern accent and those of a higher class with a more queens English. The use of different accents and dialects allowed clarification for the audience but also context as to the stereotypes and opportunities in that era.

The use of detail was also not only evident in the voices of the performers but most predominantly in the ensemble. Each performer held their own character, with their own physicality and own storyline. One could easily get lost watching the ensemble, with so many options to engage with. It was often the more hidden moments happening in the background which would cause me to smile or question things more deeply.

It wasn’t usually the way in which the text was presented as to how your emotions were driven. The text tended to set the pace, which kept a high engagement for the audience throughout the piece. Instead, the orchestra were key to how you responded to what was occurring on stage. At the moments I received goose bumps, I realised it wasn’t from the solos. Instead, from the accompaniment and the resonant quality that it echoed around the theatre creating an atmosphere unlike no other.

Each member of the cast was incredibly talented and without one, the piece wouldn’t be the same. It is truly the fine details which make this piece so magnificent and I predict it’s one of those where regardless of the amount of times you watch the performance, you would be drawn to different characters and their own tales each time. There are limited tickets available for the remainder of the performances but if you do get the chance to go, you are certainly in for a treat.

Review Lovecraft (Not the Sex Shop in Cardiff), Carys Eleri by Kevin Johnson

⭐️⭐️⭐️⭐️

Written and performed by Carys Eleri (‘Love Goddess’ in English) this one-woman show is like a cross between Fleabag, Eminem and Bonnie Tyler, exploring the science of love in a way that is earthy, informative and Welsh. It’s also very, very funny.

At heart it’s a monologue about the dangers of loneliness, which now has its own page on the NHS website, asking questions like do we have to have lovers we don’t love to fill that void or can friends suffice? Carys takes us through both the science behind why and how we fall in love, and also her own love life, revealing that our brain chemistry has a lot to answer for.

She intersperses the dialogue with unforgettable songs and a pretty good voice, ranging from rap to disco to heavy metal, and it’ll be a long time before I forget ‘Magic Taxi’ or ‘Tit Montage’, her ballad on a drunken lesbian threesome that probably didn’t actually happen.

There is also some audience participation about Tinder, and where we are all offered cocaine, only to discover that for logistical reasons it’s been replaced with chocolate instead. (Although it was very nice chocolate).

Lovecraft is a delightfully bawdy, funny and enlightening show that keeps you laughing throughout. The only thing I could find fault with is that the narrative is a bit all over the place at times, but that’s a minor detail.

Cerys hugged every member of the audience before the show started, and it was so much fun that after it ended, I really wanted to hug her back in gratitude!

Review Lovecraft (Not the sex shop in Cardiff) Carys Eleri by Lois Arcari

I usually like my comedy in darker shades, but if you’re looking for an irreverent comedy that’s packed with positivity and threaded with catchy musical numbers, Lovecraft (not the sex shop in Cardiff) is the perfect night out.

It all hinges on the winning charisma of Carys Eleri – a woman who wins over the audience even before the first word of her show. Introducing everyone with a genuinely warm hug, not even a cynic could be against this show as they wait for it to start. Her spoken comedy is brassy and fizzy. While there are only a few standout jokes once you leave the theatre – never to look at A&E Glangwilly the same again – her general aura of energy and enthusiasm sticks with you.

It truly is ‘something for everyone’ comedy. Using hugs and chocolate, plus general affability, Carys had the audience in the palm of her hand the whole way through. Even better, her broad range of jokes from shitty exes to loneliness and online dating meant everyone could relate to something. My personal favorite came when she described her alternative and decent ex. How he stood out in Camarthen, which ‘breeds rugby players like rabbits.’ He was:

‘‘absolutely not a rugby player. He wore eyeliner!’

I’ll always relate to that one!

Her musical numbers show a panache for parody and wordplay. While a few in the first act seemed a bit repetitive, they find their feet as more genre variation comes in. Carys luckily also gets the chance to show off her genuinely fantastic voice as the numbers progress. ‘I Brain you,’ ‘Magic Taxi’ and ‘Rat Park’ get points for the perfect balance of witty and catchy. The animation that accompanied them was basic but effective and had a few moments of great visual humour – like the unicorn’s cigarette horn.

If you’re missing Crazy Ex-Girlfriend and wish that Rachel Bloom would have swapped some Hollywood malarkey for Valleys realism, this show is for you. There are a few humourless gripes to be had – the basic science, the repetition of some musical numbers – but Carys Eleri pulls off her one woman show with charisma and bellyaching comedy.

My one big gripe was with the central conceit. This was that the neuroscience of love can be replicated with friendship and community.

While it is in itself a positive message, and it’s humbling to know such an extroverted figure as Carys experienced loneliness, it is somewhat accidentally incomplete. In the valleys or anywhere poor and hard to get to, social isolation has been the catalyst for many a horrible relationship. While her takeaway is a great message for people with good friends to stop worrying about romance, many people only do because those friends can be so hard to find.

Still, even when your physical community is desolate or disappointing, millions find community through art. And a happy, slightly tipsy, and adoring community watched Lovecraft (not the sex shop in Cardiff) that night.

Review Out Of The System:Mixed Bill, Dance Umbrella by Tanica Psalmist

Out Of The System : ‘MIXED BILL’ curated by Dance Umbrella, featured guest programme ‘Freddie Opoku; in partnership with Bernie Grant ArtCentre & Systems LAB. Out from this stemmed acts who brought more than just multi-disciplinary, deeply conscious and lucrative art.

All pieces structurally provided visual content that were richly infused with innovation & culture. This was exceptionally recognised during the first act of the evening, ‘Fragility in Man’ by dancer Theo Inart. His unique segment poured vulnerability on stage. A one man show featuring live looping, un-dressing, mental channelling & emotional battling through movement & sound-making. Each movement foretold his insanity as a man looking sane, meanwhile each sound enchanted torment from the infliction of oppression within society as a man.


Next on ‘Exhibit F’ by Becky Namgaud. Her piece was the most abstract out of the other pieces showcased, to the point where you would’ve needed to pick her brain to find meaning within the intensity of her choreography & low light to dark mood lighting choice. Becky’s performance grasped attention being the only act who was nude, top half of her body. She’d incorporated sounds of running water, stayed levelled on the ground the entire time with an ambience sound I struggled to find the correlation with to match her theme. However, in spite of this I’d describe this piece as deeply metaphorical, original, innovative with complex moves combined with contemporary & Capoeira style of dance. I perceived this piece may have been more personal, explaining why it wasn’t self-explanatory to members of the audience. This gave Becky’s presence power & bravery, as she interestingly also had a lot of repetition on stage. 


Followed on from Becky’s piece was a duet act, ‘Beyond Words’ performed by FFion Camberwell Davis & Tyrone Issac Stewart. Ffion first appeared on stage wearing lingerie, whilst Tyrone appeared in boxers, circulating a lot of their movement at the beginning on balance where they’d climb & step on to one another weary of their surroundings. As their piece built more momentum both acts started exploiting various episodes of their unique individuality through phases of facing judgment, living in a world where your made to feel uncomfortable when in reality feeling comfortable with yourself. To portray their multifaceted mindsets they’d transitioned to a volume of costume changes on set, emphasising through spoken-word that external factors don’t define them but helps in finding their purpose to re-connect deeply to their roots. The incorporation of spoken word for me was distinctive, as it helped exclaim the powerful discovery of two individuals dressing down to reflect the value found in being at one as a collective amongst people with different tribal history.


Lastly, Jonzi D presented his piece ‘Aeroplane Man’, which personally blew me away the most! His piece was a perfect way to end the showcase as he took the audience on a never-ending, mental plane journey bringing nothing but himself. Energetically jogging on one spot as he physically, mentally, emotionally & spiritually ran his way to various regions expecting respect & acceptance only to land in his top chosen destinations to visit his ethnic heritage, origin of ancestors, heritage of his indigenous people… yet facing rejection, humiliation from every angle he turned, but not giving up, hopeful of finding unity, validation, identity & belonging who wouldn’t see him as a fabricated, disillusioned wannabe; unable to speak his mothers tongue, recognise his African tribe and fully fit due to be seen as a migrant. A story of a man telling his story through the lens of witnessing himself as a coloured man, born & raised in England, birthed from West Indian parents who came to England during the Windsrush & so fourth. Themes of propaganda, racism, community, adaptation in search of finding home, his catchy lyrics got you hooked on where his next flights were booked.


All artists decided to focus on an abstract way of grouping their political, emotional views on factors that surround the society in spite of issues that not every single person in the audience would have had reciprocated. All pieces were well rehearsed, embodying characterisation and well thought through in terms of mis-en-scene as the choice of lighting, dress outfits, music and other implications of sound- was what truly signified the importance elements & finding meaning in their content to take something away with you even if it wasn’t a chunk load.  As a collective artists FFion Camberwell Davis, Tyrone Issac Stewart, Becky – Namgauds, Miguel-Altunaga & Florian- Peus demonstrated effective, triumphed work they should each be proud of.  

Credits

THĒO INART / FFION CAMPBELL-DAVIES & tyroneisaacstuart / BECKY NAMGAUDS / JONZI D

(FRAGILITY IN MAN) PART 1
Choreography Theo TJ Lowe
Art Direction Theo TJ Lowe
Sound Collaborators Louis Van Johnson, Sabio Janiak
Voice Work Theo TJ Lowe
Performer Theo TJ Lowe

EXHIBIT F
Choreographed and performed by Becky Namguads
Additional Direction Marso Riviere
Music Yael Claire Shahmoon
Producer Amy Sheppard

Curated by DU Guest Programmer Freddie Opoku-Addaie
A Dance Umbrella production
Presented in partnership with Bernie Grants Arts Centre

Review tic toc, Parama 2 by Helen Joy

Reminiscence is a tricky thing. It can border on the nostalgic if you’re not careful.


Those factory workers faced a lot of tough times and made a lot of tough decisions. But they laughed a lot too. They made life long friends. They forced some change. They probably sang a fair bit along the way as well.


I like a sing song, I’m very fond of a musical and I like a good story. I like characters I recognise and a history I know just enough about to give that story ballast.


Clearly, I am not alone. A whole audience agrees with me for sure. What a glorious romp! Parama 2 gives us an all singing, all dancing romp of a performance with every body on that stage playing to her natural strengths effortlessly and with joy.


Such witty pithy solos and duets with heart, a heart ripping trio trips us towards the end of an excellent saga.


I love it. I am watching everyone around me, sitting around candle lit, cloth covered club tables laughing, listening and sad for times past and people too. Touched by the factory workers, wondering how much has really changed and what this future holds. No woman is an island.


I am sitting with Olwen’s daughter, ‘that’s my mum, the one in the silly skirt’ and when she sings her ballad, we are both a little moved, a little teary.

It would be impossible to single any one actor out for particular accolade – each song matched their style, each scene matched their character, each laugh and each sigh was earned.


Please join this troupe, this band of friends, at their reunion and prepare to tap your toes and reminisce and glimpse behind the aprons of our past.

Seen: Friday, 1st November at Chapter Arts

An Interview with Sam Pullan Nominee for Young Person of the Year, National Rural Touring Awards 2019.

Hi Sam great to meet you, can you give our readers some background information on yourself please?

I am a 15-year-old who is very interested in the technical side of theatre. I do a lot in the hall which is closest to me which is Neuadd Dyfi in Aberdyfi . I help out with all types of events that happen in the hall from small touring shows, dance and talent shows to our local pantomime.


So what got you interested in the arts?

It all started when I moved down here at the age of 7, my mum became involved with Aberdyfi Players the 1st year we moved down here.

Aberdyfi Players directors Su Tacey and Des George outside the Neuadd Dyfi earlier this year with the two awards for Best Pantomime overall in their District in Wales and Best Stage Management and Special Effects. Amateur Theatre National and Operatic Dramatic Association (NODA) for their 2018 production of Aladdin.

I was pretty much dragged along to watch the performance of their yearly pantomime. From the moment I walked into the hall I wanted to know how to work the lighting. Most children at that age wouldn’t have continued to think about it but after talking to mum she introduced me to Des George who runs the hall and he fuelled my interest even more. I didn’t join Aberdyfi Players straight away but it wasn’t long as I was inching to get involved with the tech side with Des’s knowledge, help and experience it has got me to where I am today.

Congratulations on your nomination for Young Person of the Year in the National Rural Touring Awards 2019.The awards recognise the valuable work of productions, venues, promoters, schemes, and staff in the rural touring sector. What is your role at Neuadd Dyfi?

Good question, I don’t feel I really have one specific role at the Neuadd, I try my best to help with as many things as I can. Obviously my main interest is lighting and sound which I help all the touring companies or events which come into the hall with.



Get the Chance works to support a diverse range of members of the public to access cultural provision Are you aware of any barriers to accessing high quality productions for audiences at Neuadd Dyfi?

I would have to say it would be the size of our auditorium, we have had half of the hall levelled out, but we would like it to all be retractable seating. If we did have retractable seating installed it would open up so many more opportunities.


If you were able to fund an area of the arts what would this be and why?

I have to say it is difficult to choose one area to fund, it would have to be backstage in general. From props to tech


What excites you about the arts ?

The fact that everyone comes together to form one big team and works together to create one big show. Everyone has their own part from technical to costume to performing.

What was the last really great live performance you experienced that you would like to share with our readers?

It would have to be ‘I Ain’t Afraid of No Ghost’ by Little Earthquake. By far one of the most mind twisting shows I have ever watched, if you get the chance ( no pun intended) to go and watch it please do. The meaning behind it is amazing but that’s all I can say about it.

The next productions to play at Neuadd Dyffi are,

Mrs Peachum’s Guide to Love & Marriage by Mid Wales Opera

Roots by National Dance Company Wales.

National Dance Company Wales are also running a free Day of Dance at Neuadd Dyfi on Saturday the 23rd of November. Booking details are below.

IN THE PINK by Ann Davies

It was a dark Autumnal Valleys night where under feet the gravel crunched, it was almost like walking on cornflakes; curtains were drawn like closed eyes on terraced houses in the village. It was a cold night, with the mist draping the mountainside like a cosy quilt.

Ahead on the hillside, stood the whiteness of Carmel Chapel in the Rhondda Fach Village of Blaenllechau where Brian’s General Store, in partnership with the Blaenllechau Community Involvement Group and Blaenllechau Village Hall Project proudly announced a concert with guests the Tenovus Choir and Timeline.

Inside the Chapel there was a warm welcome with refreshments available as the choir began rehearsing their repertoire and people began arriving. The Chapel began as two wooden buildings built in 1858 – thus making it the oldest chapel in the Rhondda Fach Valley – its denomination was Presbyterian at birth, but since 2002 it has been an Independent Chapel which holds an Evening Service at 5.30 pm every Sunday, with Owen Griffiths as the Chapel’s Pastor.

The Tenovus Choir Pontypridd are one of the largest in Wales, they are a mixed group of people who have suffered or know someone who has or had cancer; their combination of singing and the message of enjoyment it brought to all was well received. The Choir were arranged into rows of musicality, they wore mostly black, and some with Tenovus T shirts but the main colour was prominent. There were wigs, a boa stole, a cowboy hat, ties and sleeves with jewellery that were the entire colour of pink. The message was for Breast Cancer Awareness Week stating that men can get breast cancer too. Their Choir Leader is Iori Haugen, he leads two Tenovus Choirs, and there are 16 in Wales. The Charity itself will be 75 years old next year and the Let’s sing for Cancer Project has been going for 10 years. Its aim is to raise funds for similar units (to the Mammogram ones) which will bring Chemotherapy treatment closer to the home of the patients. For further information please contact info@tenovuscancercare,org.uk.

Using backing tracks the Choir sang several songs which highlighted their talent, “Mr Blue Sky”,

 “We are Warriors” and “Sing a Song” particularly stood out.

The second group to entertain the audience was TimeLine, comprising of Gary, Nigel and Keith, a well-known trio of male singers from the area, formerly the Gooseberries with their formulae of songs which had the chapel rocking to the rafters. A trip down memory lane of “Waterloo Sunset”, “I’m a Believer” complete with the awesome “Hallelujah” which I am sure reached out well beyond the valley.

Special Guests were Deputy Mayor Councillor Susan Morgans (Ferndale Ward) and her Consort, Councillor Jack Harries (Maerdy Ward) both representatives of the local authority of Rhondda Cynon Taf. A presentation was given to a local couple by Cllr. Morgans consisting of a beautiful bouquet of flowers and a basket of goodies. Compere Brian Jones (in his pink shirt) of Brian’s General Store, Blaenllechau announced the results of the Raffle being held at the event comprising of wine, chocolates and homemade cakes.

In her speech Cllr. Morgans – who will be Mayor of RCT in 2020 with Cllr. Harries as her Consort, concluded that we are all one community and that as one we should help one another. Cllr. Morgans has named Cancer Research as one of her Charities for her tenure as Mayor.

The Valley was alive with song rocking the chapel to its rafters to be heard well beyond as the Tenovus Choir, TimeLine and the audience ended the night combining together with the Elvis song “I Can’t Help Falling in Love With You”

With thanks and appreciation to all IN THE PINK of health

Remembering there but for the grace of God

Think Pink Think Cancer Research

Top Tunes with Katherine Chandler

Hi Katherine, great to meet you, can you give our readers some background information on yourself please?

I’m a writer that works mainly in theatre and I’ve done a bit of film and TV and radio.

I love words and people and questioning things so I think being a writer is probably where I always would have ended up. I’m not from a theatre/arts background at all, I left school  before A levels like all my friends. I was more or less always working from leaving school. Me and my friend worked for her Dad on the markets and street trading for a while and I was a waitress for different places. I did a stint on the breakfast shift in the Angel Hotel, Cardiff and also a few years in the Masonic hall for the Masons. When I didn’t have work I signed on and I was put on a YTS scheme that was for kids that had left school like me without qualifications. I happened to be sent to the Sherman Theatre , Cardiff and it changed everything for me.

The exterior of the Sherman Theatre, Cardiff in the 1980’s

I was in the finance and admin dept but loved being around the shows. Phil Clark who was Artistic Director at that time (Phil is the Director of a play I wrote ‘Peggy’s Song’ by National Theatre Wales which is about to go on tour) encouraged us all to go and see whatever was on. It was the late eighties, the time of Willy Russell and John Godber, perfect plays for someone like me who never went to theatre. I just loved it!

I worked at the Sherman for six years, I was always hanging around the production office and started volunteering to do stuff on the shows. So I chaperoned a bit and shadowed stage management and helped out on the Sherman Youth Theatre that sort of thing. When I was twenty-four I applied to Welsh College to do the Stage Management course, I didn’t have any qualifications so I really was surprised when I got on. I stage managed for a bit and then when I had kids I started writing. I had a very tough few years personally in my twenties and early thirties and it really changed the way I looked at life. I decided not to waste any more time, I wanted to be a writer and so that’s what I did.

I’ve never done any kind of writing course but I think just being around performance for all of those years gave me a sense of how to write for theatre. I believe that anyone can write a play, that’s what I love about script writing, I wish more people from backgrounds like mine would give it a go, it’s been a real joy for me to be able to do something that I love.

This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to? 

At the moment I’m listening to James Brown and Aretha Franklin. I have to choose some songs for Peggy’s Song All the music used in Peggy’s Song is by artists who have died. Ghosts that stay with us.

When I write I more often than not have music attached to the play, which the director may or may not choose to use. Before it Rains was The Super Furry Animals, Bird was Curtis Mayfield, Thick as Thieves was Nina Simone and Lose Yourself was The Commodores. Sometimes when the show has finished it takes a while before you can go back to those songs because you are transported back to the play.

Before It Rains, Bird, Thick as Thieves, Lose Yourself.

Peggy’s Song has lots of music in it because the main character Danny played by Christian Patterson is a hospital DJ.

Christian Patterson in the role of Danny, Peggy’s Song by National Theatre Wales

We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why? 

Five is so difficult but I think it’s going to come down to memories for me.

  1. Songs in the Key of Life – Stevie Wonder

It’s a masterpiece. Everything about it, the production, the lyrics, the groove, the voice.

I could have chosen a few of his albums because his work from the early seventies is genius, he’s up there with the Beatles for me but this is the album.

I don’t talk a lot about losing my sons but an interesting thing happened and this album leads me to that. In the period around and a few years after they died I really wasn’t able to listen to a lot of music. I think probably because you’re too raw and music gets into you. You put a hard shell around you, I think so you’re able to function and music was too manipulating. This was one of the only albums I listened to during that time. I remember playing it in the car a lot when my daughter was little, driving her around to different clubs and singing ‘Knocks Me off my Feet’ to her. It always makes me think of the kids being little and precious times with them and Guy. It’s a sunny day, windows open, album. Love and happiness.

2. Saturday Night Fever – The Motion Picture Soundtrack

Just because it takes me back to my childhood. Family parties, Christmases’, Discos, A Benidorm holiday in 1979, my Dad, my Uncle, my sister, my cousins. We’re a family that likes to have a good time. You could rent us for a disco or a wedding to fill your dance floor to this album.

I love Disco. Donna Summer, Earth Wind and Fire, Chic, Chaka Khan, Odyssey. I have most of our disco albums from the seventies that I still play. I also love the Bee Gees but ‘If I Can’t Have You’, Yvonne Elliman is the song for me from this album, her voice is so full of full of heartbreak and drama.

3. Setting Sons – The Jam

The Jam and Paul Weller could have taken three of the five albums for me. I love Dig the New Breed, Sound Effects and Wild Wood but I keep coming back to Setting Sons.

I used ‘Thick as Thieves’ as a title for a play; it’s one of my favourite songs. Paul Weller is a master lyricist. We really felt he was speaking for us as teenagers. I think there’s a wave of working class kids who are now in their forties and fifties that hold Paul Weller in the highest regard, it’s like a club we all belong to. This album takes me back to my early teens, there was a mini mod revival. All the boys were wearing stay press trousers and Harringtons and Fred Perrys and Y cardies. Our youth club did a Thursday night disco and it was all The Jam or The Specials, The Selector or The Beat. Me and my friends Cath, Sheenagh and Lisa would go to the Northern Soul disco in the Transport Club in Grangetown on a Saturday. My love for Motown and Soul comes from that time and it’s the music I still listen to the most.

4. I Never Loved a Man the Way I Love You – Aretha Franklin

I mean. If I wanted to lose myself this is where I’d go. Perfection. ‘Do Right Woman, Do Right Man’ is the song for me from this one. Such a sassy song. She’s not asking him to do right by her, she’s telling him. I love it.

5. An Eighties Hits Compilation

I can’t decide the final one so I’m going for an eighties compilation record that has New Order, Depeche Mode, Human League, Yazoo, The Police, Wham, Michael Jackson, Prince, David Bowie, The Style Council, George Michael, Paul Young, Frankie Goes to Hollywood, Madonna, Bananarama, Scritti Polliti, The Cure, Aztec Camera, Tears for Fears, Spandau Ballet, REM, Luther Vandross, Curiosity Killed the Cat, Cyndi Lauper, Crowded House, Talking Heads, Tracey Chapman, Anita Baker and many, many more.

I wanted an eighties album. It was going to be Prince, Purple Rain or George Michael, Faith but then there’s Human League Dare and and and – so I’ve gone for a compilation. A big one with loads of songs on. Full of memories.

Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?

It has to be ‘Knocks Me Off My Feet’ Stevie Wonder. My kids and Guy are Love and happiness for me and that’s also what this song is.

Many thanks for your time 

Tickets for the tour of Peggy’s Song produced by National Theatre Wales are available to book below.

Riverfront Newport – 25 September, 7.45pm BOOK NOW

Pontardawe Arts Centre – 26 September, 7.30pm & 27 September, 1pm & 7.30pm BOOK NOW

Theatr Brycheiniog, Brecon – 1 October, 7.30pm BOOK NOW

Grand Pavilion, Porthcawl – 2 October, 7.30pm BOOK NOW

Theatr Hafren, Newtown – 3 October, 7.45pm BOOK NOW

Taliesin Arts Centre,  Swansea – 4 October, 7.30pm BOOK NOW

Theatr Richard Burton, Royal Welsh College of Music & Drama, Cardiff – 5 October, 7.30pm BOOK NOW

Borough Theatre, Abergavenny – 7 October, 7.30pm BOOK NOW

Blackwood Miners Institute – 8 October, 7.30pm BOOK NOW

Torch Theatre, Milford Haven – 9 October, 7.30pm BOOK NOW

Ffwrnes, Llanelli – 10 October, 7.30pm BOOK NOW

Lyric, Carmarthen – 11 October, 7.30pm BOOK NOW