Category Archives: Music

Review The Overtones, St David’s Hall by James Briggs

(5 / 5)

On Friday the 2nd September Cardiff was treated to a one off concert from the amazing vocal group ‘The Overtones’. Much anticipation built in St David’s Hall as we awaited ‘The Overtones’ appearing on stage but before that there were two very talented warm up acts. The first performer was a band called ‘WHO’S MOLLY?’ in the form of one band member Luke who performed many of their songs with a little help from the audience. The second warm up act was a real crowd-pleaser as it was X Factor’s Jay James. Famous for his appearance on the well-known talent show he delighted the audience with many songs new and old.

X Factor singer Jay James

X Factor singer Jay James.

After a short interval it was time for the main attraction and the arrival of ‘The Overtones’. To a rapturous applause the five members of the group walked on stage and took their places at the microphone stands. As the music began we could tell we were in for a real treat. Due to the nature of the concert opposed to them doing new songs from their current album they were performing a wide range of songs from their very first album to the latest. Some of the many songs performed were ‘Gambling Man’, ‘Sh-Boom’, ‘Reet Petite’, ‘Runaway’ and ‘Why Do Fool’s Fall in Love.’

With such a wide range of music and styles being performed there really was something for everyone in the concert and I have to say the show soon turned into a party opposed to a show and you were hard pushed to find someone who was not standing and singing with them. The Overtones were utterly astonishing and I had previously only listened to them on their CD’s and so to hear them live was amazing. Their voices were so powerful and the music was just as spectacular. With some inclusion of Acapella songs it really meant the audience could hear just how could their voices are which was a real treat.

A real highlight of the evening was when ‘The Overtones’ came down off the stage and sang amongst the audience. Certain lucky female members of the audience were invited up to the stage to be serenaded by the boys.

All of the group members were dressed very smartly with tuxedo and black tie on with the main singer Timmy Matley wearing a velvet tuxedo. All of the group members were full of energy and their dancing was something to be admired with all five members keeping in sync and filling the stage.

The Overtones. From the left Mark, Darren, Timmy, Mike and Lachie. 

The final song performed by ‘The Overtones’ was ‘Goodnight Sweetheart Goodnight’ which was a lovely way to end their magnificent show. However, it turned out that it was not their final song and like a gift that keeps on giving they performed a further two encore songs which were just as amazing. I am sure I speak for all of the audience at the show when I say we didn’t want the show to end. I urge everyone to see ‘The Overtones if you get the chance because they are utterly amazing and you are sure of an amazing night spent singing and partying with them.

To book tickets for ‘The Overtones’ nationwide Christmas tour starting in Blackpool on November 25th 2016. Be sure to check out the tickets available via this link-

Review Clear-Cut 6 M.A.D.E. – by Amelia Seren Roberts


Origami Reinkarnasjon performed by Simon Gore and Jack Rees

Traditional Sephardic lullabies, liberated CCTV Footage and choreography merging Jane Eyre with the tunes of PJ Harvey are among the diverse acts at Clear-Cut 6 programme of experimental performance arts.

The audience clamours for position in the gallery space at M.A.D.E; spectators gather at the back and the edges of the room, whilst others nestle amongst the many cushions and pallet boxes laid out for our comfort. The atmosphere is one of anticipation, but also of fun and togetherness. After reading through the programme at the beginning of the evening, I find myself curious about each of the seven experimental acts in turn. Clear-Cut is an event unlike anything I have attended before, and the diversity of the audience and acts alike is immediately apparent. The evening is a showcase of video works, dance, spoken word, performance, visual arts, new music and more. To experience this diversity of performance in a single event is impressive. It’s something of a one-stop culture stop.

Where genres collaborate and collide”, Clear-Cut 6.


Will Salter, host of the evening and Dada performer

Will Salter is our animated host; himself performing Dada poetry at intervals throughout the evening to great effect. His verbal explosions punctuate the spaces between acts, and mischievously disrupt the audience should they grow too comfortable. Dada retains a long history with experimental performance related to (or in denial of) the fine arts, which makes the presence of the genre particularly appropriate on this occasion.

Our agenda for the evening is jam-packed, prompting fears that we might not achieve all seven acts. In actuality, the evening is well-structured whilst maintaining a casual and friendly atmosphere.

Marega Palser merges literature, illustration and popular music in, ‘Jane Eyre, The DarkSide...’ Initially inspired by Paula Rego’s illustrations of the novel by Charlotte Bronte, Palser’s performance really is a highlight of the evening. The artist said of the inspiration for the work, “each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting…” Palser describes the piece as, “a thought in progress…” and the work curiously encompasses elements of the unknown. The piece reveals something of an internal conflict, which ultimately dictates movement, yet there is undeniably confidence in the madness.


 ‘Jane Eyre, The DarkSide…’ performed by Marega Palser

IdentiTTy’ by Arnaldo James and collaborators is a film which asks more questions than are answered. “Does ethnicity or origin come through when skin tone is homogenised? Is morphology reflected by environment? Can identity be conveyed through dance and abstract non-verbal storytelling?“ The potentially fluid and reactionary nature of cultural identity is explored in this choreographed video work. Referencing Japanese Butoh and Creole traditions alongside more indigenous Trinidadian movement the piece claims to examine, “the similarities that occur in different cultures through movement and music”. The piece is visually stunning.

Nicholas Morgan & Margot Przymierska perform as the collective, ‘Parallel Lines’. In, ‘That’s the family you have’ Nicholas and Margot divulge separate yet intertwining stories, “improvising around box-set narratives and the immediate, subjective experiences of our own lives, collapsing characters, time & space, fiction & reality”. Their simultaneous telling of the circumstances surrounding the funeral of a relative, alongside an audio description of moments from the popular series ‘Game of Thrones’ captivated the Clear-Cut 6 audience and was at once sensitive and hilarious.


 ‘That’s the family you have’ performed by ‘Parallel Lines’,  Nicholas Morgan & Margot Przymierska

Meanwhile, above the performance space, the gallery plays host to a film and sculpture installation by contemporary artist, Merran Singh Dubb. ‘Temple of Consciousness’ explores the relationship between the declining condition of the natural environment and the similarly marred spiritual condition of humankind. “It is evident that we are destroying the planet but ultimately, we are destroying ourselves”. The installation thoughtfully presents imagery representing spirituality alongside the elemental extremes of natural disaster and climate change.

To close the event, ‘Trio Ladino‘, consisting of Angie Kirby, Bethan Frieze and Eloise Gynn are a trio of musicians and vocalists performing adaptations of Arabic and Sephardic traditional lullabies. The trio describe their sound as, “ancient melodies fused with more contemporary musical perspectives, anchored by lullaby-like themes and romantic narratives”. The performance is a calming and captivating conclusion to the Clear-Cut programme.

On reflection, improvisation and experimentation were certainly the order of the evening with every act proving both valuable and unique. The atmosphere was at the same time informal, friendly, supportive and progressive. Clear-cut is unlike anything I have seen and I will be attending from here on!


 ‘Trio Ladino’ performers Angie Kirby, Bethan Frieze and Eloise Gynn

For a taste of Clear-Cut, visit:

Image credits to Glyn Owens and Sarah Vaughan-Jones.
Special thanks to M.A.D.E Gallery, Sarah Vaughan-Jones and all contributors and performers for the organisation of this event.


Review Performance at The New Theatre by Lois Arcari



(4 / 5)


Director James Williams was placed, alongside the producers at Arts Active Wales, with the admirable but ultimately unenviable task of threading together a week’s worth of workshops, carried out by young people who had never before met, together into a show worthy of the New Theatre.

Despite the insularity that is always a potential threat to any of these types of projects, they always expand outside their form – making it a real shame this performance, perhaps weighed down by the somewhat awkward virtue of its name, wasn’t a tad more well marketed. What the Sherman NT Connections festival did so well with interpreting set theatre pieces this project did for new material.

There were, of course, lots of layers of interweaving. The more complex ideas with the weaker ones, the reasonably large age gap of performers aged 14 – 25, and of course the disciplines of circus, design, dance, art, music and the spoken word. The poetry, overseen by Literature Wales was one of the highlights, although a few themes might’ve meandered, and there were moments where politics seemed a little indelicately transposed onto some performers. Having sat in on the workshop, any chinks in the material were minute distractions against the obvious double edged sword of the time frame, and the integration of every workshopped piece into the whole.


The ensemble for ‘Performance’ 2016

Community Music Wales where also very active in the show but where better executed and more memorable when used as a backbone for the other artforms. The Art and Design elements were the most sporadically used but well done; a Dali like background to an intense, exhaustive dance piece the most effective example. Impressive puppetry was also used, although the flashy teddy bear, turned Gothic by the lighting, would best be appreciated of those who, unlike this critic, have not been subjected to the ‘wonders’ of FNAF by younger family. No Fit State’s Circus performances showed the two most obvious flavours, a humorous but slight juggling gag to trapeze, but there will be no world in which the mastery of the latter doesn’t inspire some kind of awe.

All the elements worked well together, but Earthfall Dance had a monopoly on the night. Contemporary dance is one of those things all too easy to get wrong, viewed by the general public with cynicism, and even sometimes within the arts with a gentle wryness. In this show, it was stunning, performed by the trained dancers, with natural acting talent alongside passionate energy. It whipped up the most natural commentary and narrative of the night whilst seeming absolutely effortless. As always, simplicity was king and queen alike. Even though others without dance experience were involved, they too seemed totally natural. Whether swift and pulsating or tender and subdued, it was perfectly executed.

Overall, the pieces which were meant to form more of a cohesive story than a thematic connection were too brilliant not to hinder the more standalone pieces which would otherwise be fine if unengaging but it rather accurately depicted the current arts scene, whilst showing plenty of scope for new forms of talent. The difficulty in reviewing this was that any flaws are part of its form and therefore, any commentary can’t seem too constructive, but trying to bring young talent out of its usual spheres and into the general stage is an admirable thing. It was never going to be perfect or show any calculated insight, but it was certainly vibrant and showed plenty of the organic kind. Very much worth keeping an eye out for next year, but keeping it in context is essential for the ride.

Director: James Williams

Producer: Arts active
Assistant producers/collaborators: Literature Wales, No Fit State, Earthfall Dance, Community Music Wales, Criw Celf
Running time: 1 hr 20 mins


Review Chicago Wales Millenium Centre by Barbara Michaels



Music and lyrics: John Kander & Fred Ebb

Book: Fred Ebb & Bob Fosse

Choreographer:  Ann Reinking

Musical Director: Ben Atkinson

Reviewer: Barbara Michaels

(4 / 5)

Red-hot and sizzling, the multi-award winning musical Chicago, based on real life events in 1920s US, is back at the Wales Millennium Centre and judging by the bookings as popular as it was when it came here four years ago.  With its theme of greed and corruption, the contemporary relevance doesn’t need to be spelled out although the main action takes place on Death Row, where nightclub singer Roxie Hart is standing trial for shooting her lover and the feisty Velma Kelly is up for double murder.  Strong stuff indeed but the dark undercurrent of the story and plotline cannot be ignored, and neither should it be.

But – moving on – this is musical theatre, so let us not dwell on this.  The wonderful musical numbers, toe-tapping and fast, are what makes this show so popular, along with the fast-paced choreography. Chicago is above all a showcase for the original choreography of the legendary Bob Fosse.  The tunes come thick and fast, plunging straight into it with All That Jazz in Act I and never letting up, and the dancers amazing…

Chicago has been performed on stage countless times, plus the memorable film version starring Catherine Zeta-Jones, and every director understandably wants to put his or her own mark on it in terms of character portrayal.   Hayley Tamaddon is a low key Roxie with an air of fragility about her that belies the fact that this is one tough lady who will stoop as low as it takes to escape the death penalty.  Although Roxie’s story is pivotal, it is her opposite number Velma who is the strongest here and Sophie Carmen-Jones give the role her all in no uncertain manner, displaying a versatility and, in Act II, an acrobatic ability that is truly amazing.  While Carmen-Jones has the character to a T, Tamaddon’s Roxie is at times almost girl-next-door in her naivety.

Alternating in the role of Prison Matron Mama Morton, who believes in looking after ‘her girls’ – as long as her favours are reciprocated – are Gina Murray and Sam Bailey. Murray’s Mama threatened to bring the house down on press night as she belted out the iconic When You’re Good to Mama full throttle.  Great stuff!  A clever little cameo too by Francis Dee as ‘Not  guilty’Hunyak.  On the same evening, Kerry Spark took over the male lead in place of John Patrtridge, who was absent, in playing unscrupulous defence lawer Billy Flynn always on the lookout for number one and lining his pockets by defending about-to-be convicted murderers.  Amos, Neil Ditt is an experienced actor who ‘gets’ the role of Roxie’s husband, the pathetic, incompetent and ignored ‘Mr Cellophane’ (to use the title of his song) off pat.

The staging is atmospheric and costumes a delight for the eye with deftly wielded chorus line feather fans in one of the later scenes, while the  onstage orchestra under musical director Ben Atkinson, is superb, providing not only musical backing throughout but continuing to entertain after the show ends.

Runs until Saturday 30 July 2016


Last Night of the Welsh Proms 2016, ST DAVIDS HALL BY JAMES BRIGGS

Following a simply wonderful week packed full with all types of music, the Welsh Proms 2016 drew to a stunning close on Saturday evening. The Last Night of the Welsh Proms, at St David’s Hall, Cardiff, is a celebration of what it means to be Welsh and how important music is for Welsh people. The celebrations began before the audience entered the auditorium, with a band playing outside the hall enticing passer-by’s into the concert hall.

As the show began the audience welcomed The Royal Philharmonic Orchestra from London and the resident Last Night Of The Welsh Proms conductor Owain Arwel Hughes CBE. With a marvellous programme of songs set for the evening the audience knew there would be a great evening in store.

As well as the upbeat recognisable pieces played by the Royal Philharmonic Orchestra the Last Night is also about some serious music, and this year’ concert featured three world premiere performances of brand new orchestral pieces.

The first of these was ‘Cambrian Serenade’, by Arwel Hughes, the father of our conductor for the evening. The piece featured heavily on Classical FM where they held a competition for the listeners to name the song and the winner would get to see the music performed on The Last Night Of The Welsh Proms. The second of the world premiere pieces was ‘Aberfan’, by Christopher Wood, the emotional piece which was very moving was written to commemorate the 50th Anniversary of the Aberfan disaster. The Aberfan disaster was a catastrophic landslide of a colliery coal tip in the Welsh village of Aberfan, near Merthyr Tydfil, on 21 October 1966, which engulfed a Primary school and killed 116 children and 28 adults.

The third piece making its World Premiere was ‘Mr Dahl’, by Bernard kane Jnr, which was a beautiful piece written to commemorate 100 years from the birth of the great Welsh writer Roald Dahl.

Some of the first half highlights included Coates ‘Dambusters March’, Tchaikovsky’s ‘Swan Lake’ and Mendelssohn’s well known and loved ‘Wedding March’. The real showstopper that ended the first half was the soundtrack to Star Wars which took your breath away. Nothing can really prepare you for when you hear the opening few bars of the theme played by the brass section. It is almost like you are expecting Darth Vader or Yoda to appear on stage and greet the audience.

As with the tradition of the Last Night Of The Welsh Proms, it was really after the interval that the fun really began with an influx of flag and banners being brought into the auditorium in preparation for waving along with the music.

The second half opened with a personal favourite of mine Elgar’s Pomp and Circumstance No.1 and it wasn’t long until conductor Owain Arwel Hughes soon had everyone on their feet and singing ‘Land Of Hope And Glory’ enthusiastically to the music. Strauss Radetsky March proved popular with the prom goers as we all clapped along when told by the conductor.

The final songs of the evening came in the form of ‘Fantasy On Welsh Songs’ arranged by Gareth Wood. This part of the concert involved a great deal of singing with the orchestra as some of Wales’ most famous songs were played. With songs such as Cwm Rhondda, Men Of Harlech, Ar Hyd Y Nos, We’ll Keep A Welcome, Myfanwy, and I Bob Un Sydd Ffyddlon there was plenty of choice. One song played Bugeilio’r Gwenith Gwyn had a great deal of meaning for my Mum who I attended the concert with as it was the song she performed for the Queen when she visited Wales in 1977 for her Silver Jubilee celebrations.

The national anthem Mae Hen Wlad Fy Nhadau provided a fitting encore to end a wonderful evening of music. Conductor Owain Arwel Hughes promised the proms would return bigger and better next year, which is definitely something to look forward to. I urge everyone if you have the chance to attend the Last Night Of The Welsh Proms be sure to go because you are sure to have a magical evening of music and culture.

Review, Peter Pan, Everyman Theatre Festival

Image by Natalie Johnson-Rolley

It seems that this year is the year of open air theatre. In the heart of Sophia Gardens we await to be transported by the boy that never grew up across the skies of Cardiff to Neverland.

With a cast of young performers ranging from very small to older groups, this large cast has the great task of a 1 hour production of the Disney rendition of this great story.

Our main characters are as happy and go lucky as we expect them to be – their singing voices very accomplished for such young actors. They are confident and in keeping with their characters. The role of the Dad and of Hook is played by an adult male- a very tasteful decision in showing the patriarchal hold of women at the time with his demands of Wendy becoming a lady and to also show the difference between children’s freedom and adult restriction. The highlight of men vs women running throughout the play and especially with the song entertaining lyrics of brave men, soon to be changed by Tiger Lily and Wendy to Brave girls is a lovely boost and message for growing girls and young women.

The ensemble all evidently worked very hard for their parts – doubling up for different characters and adjusting well to show the difference from Pirates to Indians to Lost Boys and Fairies with ease and skill.

There is an element of pantomime with the production- the costumes are bright and stereotypical but this is Disney and relatable to the children of the audience -some very young.  The use of a clever prop flying high in a snake like fashion over the stage for the crocodile was inventive and really enjoyable to witness.

It did feel as though the smoke machine operator was a little over enthusiastic- at times the stage was disguised and us audience too with an abundance of smoke that it was hard to see the performers and how hard they were working.

Overall this is a lovely and humble family show. A condensed version of the Disney film, it’s entertaining for all families of all ages.

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Review, Flossy and Boo’s Curious Cabaret, Chapter Arts Centre, by Hannah Goslin


(4 / 5)

Bright pink and green wigs, ukuleles and a whole heap of fun. Coming to Chapter Arts Centre to see these two curious sisters in creativey was excitingly anticipated by me. I have heard so many wonderful things but never had the chance to grab a chance to see them.

Flossy and Boo as would seem by any images you see of them are eccentric, comedic and warm and friendly. Being welcomed one by one by each of them to the performance, it felt more of a personal gathering than of watching a performance piece.

Flossy and Boo had planned items but also random segments chosen by the audience in the form of picking items from a hat. This was full of anticipation to see the reaction of the performers and what material they brought into the mix.  To be able to chop and change and bring a new show each time is a triumph and very clear of some talented theatre practitioners.

Their ability to change the scenario at last minute, combat sound issues and prop interruption was done seamlessly, with us enjoying how ‘natural’ they were with us. We were never quite sure if they were being their characters or their usual persona- which of course is brilliant to be able to achieve.

Flossy and Boo’s Curious Cabaret is side splittingly hilarious, extremely intelligent and masterful in its execution. Heading to Edinburgh, I urge you to see them. They’re ones not to miss!

Review The Freddie Mercury Project, Sinfonia Cymru, RWCMD by Sarah & Lucy Debnam


All photographic credits Sarah Debnam

This was very exciting for me!

I thought the show was going to be fun and exciting, I am a massive Freddie Mercury fan.
The place we went to was quite big and it had comfortable seats.
I recognised a few songs- ‘Bohemian Rhapsody,’ ‘We Are The Champions,’  ‘We Will Rock You’ and ‘Who wants to Live Forever.’
I thought they all played great, I enjoyed it a lot!
There was nothing I didn’t like 🙂

Lucy  Debnam aged 8 


It has to be said the Freddie Mercury is a true legend, I grew up singing Queen songs rather than nursery rhymes and I know I am not alone, and now, without any real encouragement, my eldest daughter has become a huge fan also. So when we saw the Freddie Mercury Project advertised both of us were really excited to go and see what it was all about.

We were kindly asked to review The Freddie Mercury Project from Sinfonia Cymru (a young, talented and innovative orchestra in Wales) at the Royal Welsh College of Music and Drama, and didn’t know what to expect from either the orchestra or the venue, but as soon as the musicians entered the room I realised this was to be something special, and I wasn’t disappointed.

From the very first notes the room filled with atmosphere and emotion, I was instantly impressed by the skill and the attention to detail that the orchestra had, the togetherness and how attentive they all were. There was an element of fun as well and some of the girls were rather enthusiastic on that section of ‘Bohemian Rhapsody’ that has everyone head banging along, did I mention that Sinfonia Cymru is described as ‘progressive’? I guess they have to be to take on Mr Mercury’s incredible songs, from ‘Bicycle Race,’ including bicycle bells, to ‘Love of my Life’ which gave me chills, down to ‘Who Wants to Live Forever’ which was by far my favourite piece played, there wasn’t a thing that didn’t work in my opinion.

I was a little concerned about the fact that nobody would be singing at this show, it was purely music and I wondered how Freddie Mercury’s showmanship could ever be replicated. Well that was left to Vlad Maistorovici, who as composer, conductor and violin soloist had his work cut out for him, however I think he did an outstanding job, of not only pulling the whole orchestra together, in time, with enthusiasm, but he also played many of the solo parts of the songs that Freddie would have belted out, with his violin alone. I honestly don’t know how else to explain it other than he did it justice and I think Freddie would have been impressed!

This team of musicians also included the very talented pianist Robin Green and Harry Cameron-Penny on the clarinet who was mesmerising to watch, both incredible musicians and both adding something unique to the whole ensemble. The piano sections of ‘Bohemian Rhapsody’ were spot on and my girl chatted excitedly about this at the end, she couldn’t believe how it sounded exactly as it does on the recordings, he even played the piano in an unusual way at one point. Harry gave an air of confidence that made me feel as though he didn’t have to put any effort into his solo performances, making it comfortable and entertaining to watch, it was almost as if he just made it up as he went and still sounded flawless, a real talent.


I won’t pretend to know if the notes were all spot on as I am not musical myself, but I do know that as someone who wasn’t sure what to expect from an orchestra playing Freddie Mercury’s songs, I was absolutely blown away by every single part of the show, Vlad was incredible and brought Freddie’s spirit to life momentarily for me, Robin and Harry were a pleasure to watch/listen to, and we enjoyed it so much that I bought tickets for the next night at The Riverfront theatre. This time taking my Dad (who is a big Queen fan) and my youngest daughter, and they both loved the show as well! I think this is a true testament to the Sinfonia Cymru as all ages were clearly entertained.

I think we witnessed something special in the Freddie Mercury Project, and think that the effort and skill poured into this production did not fail to impress. The standing ovation at both shows we went to echoed this as well I think.

Thank you Sinfonia Cymru!

Review Guys and Dolls, New Theatre Cardiff by Barbara Michaels



(4 / 5)

Still popular well over half a century since it opened on Broadway, everything rests on the roll of the dice in Guys and Dolls, the iconic musical set in Manhattan and based on the short stories of Damon Runyon. Gangsters and their molls are at the centre of the action as con man Nathan Detroit struggles to find a venue for his upcoming illegal crap game. High-rolling gambler Sky Masterson offers a solution, but only if Nathan can come up with an attractive enough bet. And he does – in the shape of uptight Evangelist missionary Sarah Brown. The subsequent shenanigans take us from Times Square via the dance clubs of Manhattan to the sewers of New York City.

This latest revival, fresh from the West End stage, proves once again what a great musical this is. This time round it has the plus of being staged with choreography masterminded by the brilliant Carlos Acosta. It is difficult – I might go further and say well-nigh impossible – to find a dancer and choreographer who can equal Acosta for Latin American rhythms that sizzle with white-hot heat. As the action switches to Havana there is just about everything here – rumba, samba, cha-cha – you name it. Ballet – of course. Full marks to the multi-faceted ensemble for coping with it all.

So bristling with talent is this Chichester Festival Theatre production that it is difficult to know where to start with the accolades, but one must begin somewhere so let us be logical and begin with the two male leads whose crap games and on-off romances form the pivot on which the plot revolves. As Sky Masterson, Richard Fleeshman cuts a debonair figure in the role of the gambler willing to take on any bet if the stakes are high enough.  Fleeshman has a great tenor voice, heard to advantage in the number I’ve Never Been in Love Before at the closure of Act I. The target of his bet, with whom he ends up falling in love, is the Bible-bashing Evangelist Sarah Brown, played by Anna O’Byrne who belts out the lyrics with gusto.

That accomplished actor Maxwell Caulfield plays Detroit with a great sense of timing and a wry humour. His evident relish for the role is infectious. Caulfield’s Detroit is a likeable rogue, despite his dragging his feet where marriage is concerned: a fourteen year engagement seems a trifle overlong by any standard! The lucky lady is Miss Adelaide, lead singer and dancer at the Hot Box, the night spot where much of the action takes place. Louise Dearman, as Detroit’s fiancée whose dreams of domestic bliss are taking forever to come true , is superb, notably so in that wonderful number Take Back Your Mink. Dearman has the role down to a T – to the extent of almost stealing the show at times.

Detroit’s and Masterson’s fellow gamblers are all perfectly cast, with Jack Edwards as Nicely-Nicely Johnson and the lugubrious Craig Pinder as Harry the Horse, while Mark Sangster is a nimble-footed Benny. Boys – you were splendid. The live orchestra, under the direction of Andy Massey, provides the accompaniment to the memorable musical numbers which include that well-known Luck Be a Lady and the foot-tapping Sit Down, You’re Rockin’ the Boat.’s-on/guys-dolls/

Runs until Saturday 9th July

Guys and Dolls New Theatre Cardiff

Music and Lyrics: Frank Loesser

Book: Jo Swerling and Abe Burrows

Director: Gordon Greenberg

Choreography: Carlos Acosta and Andrew Wright

Reviewer: Barbara Michaels



(4 / 5)

Audio review of the production with music from the production

‘Cabaret’ is highly regarded as being one of the greatest musicals of all time and has some magnificent songs and fascinating characters, it also has a strong compelling and highly political storyline with a message from history that can’t be ignored. Set in Berlin on the eve of World War Two in the 1930’s, it shows the rise of the Nazis against the apathy of the masses, and describes a change that would prove to have terrifying consequences for everyone who lives in Berlin. Most of the story unfolds in the seedy ‘Kit Kat club’.

I was not sure of what to expect when attending the Royal Welsh College of Music and Drama for this production as I had only heard some of the songs from the musical and was unfamiliar with the storyline, so I must admit when the house lights dimmed and the characters began to enter the stage to the song ‘Willkommen’ I was slightly perplexed at the characters in front of me and their stage presence especially only being 17.

For many, including my mother who I attended the show with, imprinted on their mind was the film version of the musical starring Liza Minnelli as Sally Bowles, Joel Grey as the compère and Michael York as the young Englishman.
The stage show opens with the arrival of a young American, Cliff Bradshaw (played by Jonathan Radford) in Berlin on New Year’s Eve 1930. In a chance meeting at the railway station, he’s becomes friends with the very polite and helpful Ernst Ludvig (played by Tom Corbishley) who refers Cliff to Fraulein Schneider’s lodging house while he is staying in Berlin. Later in the story, Cliff is introduced to the ‘Kit Kat Club’, a cabaret club where anything can happen. He meets Sally Bowles, a singer who escapes reality when performing her songs in the club.

Set against Cliff and Sally’s relationship, and the relationship between Fraulein Schneider and her Jewish fiancée, the Nazis start to show their might and their threat is felt by all at both the unassuming lodging house and the Kit Kat Club. Adena Cahill as the upper class English Sally Bowles is very good. Fraulein Schneider was played by the believable Rosie Archer whose characterisation was excellent as well as that of Dafydd Gape who played the kind, caring and helpful Herr Schultz. Jennifer Ruth-Adams who played Fraulein Kost was able to do this very well and produced some comical scenes when trying to get her sailor lovers out of the lodging house without Fraulein Schneider finding out.

However, for me the star of the show was Corey Jones as Emcee, whose performance was outstanding and whose stage presence was simply mesmerising and as soon as he entered the stage you could not take your eyes off him. Jones’ Emcee was extremely dark and edgy with an exceptionally strong character and you were never quite sure if he was simply a welcoming host, or one that really despises all people.

Corey Jones as Emcee

Photographic credit Kirsten Mcternan

The level of the singing in the production was brilliant and there was not one character that slipped out of their German or American accents. It felt as though I was in Berlin watching the show. The performance of ‘Tomorrow Belongs to Me’ by Ross Hoey as a young Nazi was very chilling and this was made more powerful when the Nazi flags dropped down on each side of the stage. With well-known songs such as ‘Maybe This Time’, ‘Cabaret’ and ‘Mein Herr’ it is sometimes difficult to live up to audience expectations but the cast of this production surpassed themselves. The band that played during the performance was equally exceptional and brought the music to life.

The ‘Richard Burton Theatre’ housing the performance was very fitting and gave the audience a feeling of intimacy with the characters on stage. You felt you were part of the audience in the ‘Kit Kat Club’ taking part in all the action.

The staging worked equally very well with the theatre and as one entered the theatre we were greeted by a large structure hanging diagonally on stage with simply some chairs below it. There was also a large use of period lights on chains that along with the structure moved during the performance. This was used extremely well as it gave the effect that the ‘Kit Kat Club’ was opening up in front of the audience. The minimal set worked extremely well and allowed the audience to concentrate more on the characters opposed to the surrounding.

The Entr’acte from the Musical ‘Cabaret’.

Overall, this is an utterly breath-taking performance even if it is rather risqué in parts with a chilling end but I will certainly be attending far more shows at the Royal Welsh College of Music and Drama because if the level of performance is always this high, you are guaranteed an amazing night at the theatre.

Type of show: Theatre
Title: Cabaret
Venue: Royal Welsh College of Music and Drama
Dates: 22-30 June
Director: Paul Kerryson
Music: John Kander
Lyrics: Fred Ebb
Musical Director: Nathan Jones
Choreographer: Tom Jackson Greaves
Set Designer: Tina Torbay
Lighting Designer: Becky Heslop
Costume Designer: Jessica Campbell Plover