Category Archives: Musical

Interviews and articles from 2018

Please find below a range of interviews and articles from the Get the Chance team published in 2018.

Welsh and Wales based artists respond to the new Arts Council Wales Corporate Plan, 2018 – 2023 “For the benefit of all”  

Guy O’Donnell.

A response to Arts Council Wales, Corporate Plan, 2018 – 2023 “For the benefit of all”

Ahead of the 2018 Brecon Baroque Festival, Roger Barrington had the chance to chat to it’s Artistic Director, Rachel Podger about what to expect this year and also about her own flourishing career as one of the world’s leading violinists.

“Gramophone Artist of the Year” Rachel Podger in conversation ahead of Brecon Baroque Festival 2018

In this article we interview a range of arts professionals to share good practice in the areas of Access, Inclusion and Diversity.

Sharing Positive Action to support Access, Inclusion and Diversity

I am going to explore with you the invaluable discoveries and perspective gained from participating in the YANC event held at the Wales Millennium Centre over last weekend.

Beth Clark.

A response to Casgliad 2018 – Nurturing Youth Arts in Wales By Beth Clark

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.

Guy O’Donnell

Looking ahead in 2018 Culture, Creativity and Change!

The Director of Get the Chance, Guy O’Donnell recently met with Rachel Boulton, Artistic Director of Motherlode, they discussed her background, thoughts on the arts in Wales and Motherlodes new production ‘Exodus’ which premiers at the Coliseum Theatre, Aberdare on the 5th of October before touring.

An interview with Rachel Boulton, writer and Director of Exodus.

Philip Ridley’s acclaimed one-act 2000 play, “Vincent River” tells the story of a mother whose son Vincent has been murdered in a homophobic attack. In the aftermath, she learns about her son’s homosexuality. An interview with Director Luke Hereford.

Roger Barrington.

Preview with Interview of “Vincent River” at Jacobs Market, Cardiff 19-21 September 2018

The Director of Get the Chance, Guy O’Donnell recently met with Sarah Rogers, Artistic Director of Ransack Dance, they discussed her background, thoughts on the arts in Wales and her new production ‘Murmur’, taking place on Fri 14th September 2018 at Memo Arts Centre, Barry.

An interview with Sarah Rogers, Artistic Director of Ransack Dance

An audio/subtitled interview with Carole Blade, Director of Coreo Cymru and Creative Producer for Dance in Wales. Editing by Roger Barrington.

An audio/subtitled interview with Carole Blade, Director of Coreo Cymru and Creative Producer for Dance in Wales. 

Top Tunes with Jonny Cotsen

Top Tunes with Jonny Cotsen

Get the Chance values the role Welsh or Wales based playwrights bring to the cultural life of our nation. Here is the latest interview in this series with actor and playwright Matthew Trevannion.

An interview with Matthew Trevannion

The director of Get the Chance, Guy O’Donnell recently met with playwright and actor Joe Wiltshire Smith.They discussed his background, creative opportunities for young people in Bridgend, his new play Five Green Bottles and his thoughts on the arts in Wales.

An interview with Joe Wiltshire Smith

The director of Get the Chance, Guy O’Donnell recently met with Aisha Kigwalilo. They discussed her background, a new arts project called G.I.R.L. Xhibtion and her thoughts on the arts in Wales.

An interview with Aisha Kigwalilo

The director of Get the Chance, Guy O’Donnell recently met with Aleksandra (Nikolajev) Jones. They discussed her background and training, a current project Gravida and her thoughts on the arts in Wales.

An Interview with Aleksandra (Nikolajev) Jones

An interview with BSL interpreter Cathryn Heulwen McShane

An interview with Cathryn Haulwen McShane

The Get the Chance team choose their cultural highlights of 2018

We asked our team to choose their personal three cultural events of 2018 along with a favourite performance and/or organisation. Enjoy reading their individual responses below.

Barbara Elin

2018 has been quite a year; when I submit my thesis on New Year’s, it will be the culmination of four years of intense research, and quite the end of an era (and hopefully the start of a new one). So I’m lucky that, in between the furious bouts of writing and the dreaded editing, I’ve been distracted by some truly brilliant productions, too many to narrow down – from the vicious Motherf**ker with the Hat to the inventively-staged Turn of the Screw and the impressive evocation of character in This is Elvis and At Last: The Etta James Story, 2018’s theatre and dance landscape has provided an embarrassment of riches. So I’m going to cheat a little bit in narrowing down to my ‘top 3’…

3) For ingenuity and fun, Mischief Movie Night/ Murder for Two

No two productions have made me laugh this year more than these two – and though they share a common thread of entertaining ingenuity, they’re vastly different from each other. The former showcased the talent of Mischief Theatre’s on-the-spot improvisational skills, the latter was a tightly-wound machine of script, song and silliness. Both of these productions demonstrated how creative and clever the craftsmanship of theatre is – all while making you laugh too!

2) For pure, joyous entertainment, Young Frankenstein / Rock of Ages.

I love a good musical, and these are two of my favourites in recent memory. The original Young Frankenstein movie is in my top 3 movies ever, so I worried a musical version with a whole new cast could never do justice to the original – well, it did with bells on! Brilliant songs, spectacular setpieces and an original evocation of that original cast made this a must-see. And I have such special memories of seeing Rock of Ages for the first time, so it always has a place in my heart – it’s also one of the only truly great jukebox musicals I’ve seen, and this new cast reinvigorated an already raucous, rip-roaring ride! Can’t wait to see it a fourth time…

1) For powerful and haunting work,

Cascade Dance Theatre’s Frankenstein 

Theatr Clwyd/Sherman Theatre, Lord of the Flies

These two productions utterly blew me away with their beautiful, haunting performances – both reimagined old classics in new, intriguing ways and were utterly gripping from start to finish. There are moments in both shows that I will never forget, and without doubt they are the best productions of 2018 for me.

Personal Highlight: It’s only appropriate, given my research into Frankenstein and the bicentennial of the novel’s publication, that I started and ended 2017 with Frankenstein-related productions – Young Frankenstein on the West End in January and Cascade Dance Theatre’s Frankenstein on the tail end of November. So my personal highlight of this year would be presenting my research in Bologna for the Frankenstein bicentennial conference. I’m so grateful to Prof Anthony Mandal and the CRECS/ RomText team for this wonderful opportunity.

Venue of 2018: The Sherman Theatre’s dedication to inclusivity, accessibility and innovation remains unmatched in my opinion, and their post-show panels are always a joy to be a part of. Many thanks to Tim Howe for involving me.

Company of 2018: Cascade Dance Theatre’s Frankenstein did the impossible – reimagined Mary Shelley’s classic almost wordlessly, in imaginative new ways with stunning moments and dark, modern twists. Bravo!

Gareth Ford-Elliott

For number three I’ll say Cheer by Kitty Hughes at The Other Room. This was fun and alternative and out of the things I reviewed, definitely one of the best.

For number two I’d have to say Humanequin by Kelly Jones at Wales Millennium Centre. This was an important piece of theatre and despite not being the best was definitely the most important piece I saw this year.

For things I’ve reviewed I would definitely have to say Cardiff Boy by Kevin Jones at The Other Room is number one. This was the best all-round show I saw outside of the Edinburgh Fringe this year. Every aspect of it was brilliant and it’s up there with one of my favourite shows I’ve ever seen.

For the cultural events, things I didn’t review, I will say Five Green Bottles by Joe Wiltshire-Smith and Spilt Milk Theatre as part of the Cardiff Fringe Festival. This was an excellent script produced independently. Joe is one of the best upcoming writers in Wales and Spilt Milk are one of the most passionate theatre companies. Together they produced an amazing show which I can’t wait to see again, developed, at the Sherman Theatre in 2019.

Judith Hughes

Exodus by Motherlode

With underlying serious issues about the struggles and problems of working class Valleys people, Rachael Boulton and her team have created a funny, clever, relevant and thought provoking piece of theatre that strikes a chord with its audience; a reaction that can be heard in their laughter and the warmth of their response.  Suspend your disbelief and climb aboard Exodus airways, it’s better than Easyjet!

Passion, NDCWales/Music Theatre Wales

All credit must go to what must have been an incredible amount of hard work from all of the performers, creators and collaborators. I was unexpectedly riveted to the story they told and absorbed in the whole aspect of the show.

Best thing in 2018 overall was listening to Bruce Springstein’s autobiography (actually published in 2017) which I had on Audible and listened to it twice. What an amazing story – and such a fantastic storyteller. All my life I wasn’t a fan until I read this book.

Hannah Lad

My top 3

3.Dick Johns – Lets Talk about Death Baby!-Really enjoyed just watching a truthful story with no pretences!

2.Dirty Protest: Light Speed at Pembroke Dock – A lovely heart warming story that reintroduce play to theatre!

1.Comedy at Howl, International Women’s Day – Just so good to have such a diverse group of women together in one room!

My favourite arts event I have attended this year was Casgliad hosted by Youth Arts Network Cymru! Such a brilliant weekend with so many awesome creatives!

Sian Thomas

Matthew Bourne’s Cinderella 
I’ve only seen two ballets ever and this was the best one. I followed the story and I really liked the subtle changes they made to it and the way it was performed. Lovely show.

Open Mic Night (Cardiff Fringe) 

Had to include the Fringe! It was the most fun thing I did this summer! Because god I just really really adore this event and I really hope it’ll be back next year – I always love testing out my writing on an audience there. It’s such a safe space and such a confidence booster! Lovely atmosphere, people, and always a lovely summery evening!

Ravensong by TJ Klune

Still because he recognised me, the group, and my old review. Loved feeling seen by an author I admire. The story was fab, the representation was great, and it was a lovely book to read to take one’d mind off things. Also ended with a great cliffhanger! I get so excited when he tweets about new books of this series come up. So this is definitely my #1!

My cultural event:

The fact that I wrote 100,000 words of the second draft of my novel!! I’m just super, super proud of myself. There’s not much to be told: I work on it when I can, work on it slow and steadily, make sure everything is okay, and it’s building itself up into something (hopefully) spectacular!

Barbara Michaels

My Three Best of 2018

With such a plethora of good theatre now available to us in Wales, it is difficult to select just three among the cornucopia of events that has been on offer – from the grandeur of Welsh National Opera, up there with the best in the world, to more humble productions working to tight budgets. For my money, here goes:

Alice in Wonderland at the Sherman Theatre, Cardiff

The multi-talented Rachel O’Riordan’s last production for the Sherman before departing for the Lyric Theatre in London.   O’Riordan pulled all the stops out, with the result that this was fun – as a Christmas show should be – but also showed the dark side of Lewis Carroll’s well-known story. Musical numbers were a delight, with several of the characters on stage musicians and rising to the challenge.  Not staged as a musical, but one waiting in the wings perhaps?  A cunningly designed black and white set allowed for the full range of Carroll’s famous characters – White Rabbit, Mad hatter and even the Caterpillar – to be displayed to advantage.

Moving on to Number 2:

Evita.  

This new production of a classic breathed fresh life into thetrue-life story of Eva Peron with a brand-new cast who more than justified their selection.  Following in the footsteps of Elaine Paige who made the role her own was never going to be an easy task and Lucy O’Byrne’s heart-rendingperformance of ‘Don’t Cry for me, Argentina’ at what was Eva’s last appearance before her death brought tears to the eyes.  It was also good to see some of the emerging talent coming out of Wales in the shape of Swansea-born Mike Sterling as Peron.

First on my list is WNO’s La Traviata  A revival, true, but excellently staged and performed and with Verdi’s wonderful score rendered with a master touch with two sopranos experienced in their roles and Roland Woods’ sonorous baritone lending gravitas to the role of Germont pater, how could it fail to please? An opportunity for the remarkable WNO chorus to shine and for the ladies among them to enjoy wearing elegant ballgowns. The excellent director David McVicar wisely chose to keep to the traditional, with a sumptuous period setting whose opulence reeked of decadence.

Personal best:

For me, it has to be musical theatre and The King and I, which I saw in London.  A sheer joy from start to finish, with Kelli O’Hara as Mrs Anna and Ken Watanabe as the King of Siam taking on the iconic roles made famous by Yul Bryner and Deborah Kerr and performing them with enthusiasm and expertise. First class.  Enhanced for me, I have to admit, in that I was accompanied by a posse of grandchildren helping me to celebrate a big birthday!

 

Karis Price

Theatre Clwyd and Sherman Theatre excelled this year with Lord Of the Flies, with its all female savage cast had me jumping out of my skin and seat whilst offering a critical insight to the frailties of humanity.

However it is the rip roaring, toe tapping hand flapping Great Gatsby from Theatr Clwyd/Guild of Misrule that topped the bill for me in 2018. This innotive, interactive piece held in a run down pub in town was totally engrossing, a brilliant use of venue and a talented cast not just of professionals but community too. (More of this in 2019 please Theatr Clwyd!)

On the whole 2018 was pretty dull in the cinema however one film stood out as been worth the trip to the big screen ” Marvels Infinity Wars” I am an Averger fan girl and this film ticked all the right boxes, it was the ending to the origional Averngers story arch, all the Marvel films todate were building up to this battle … it was worth the wait and the bitter end just left me wanting more.  Of course this doesn’t see the end of the Avengers, but it will be the end for some of the best loved characters and the begining for some new… I only hope the sad passing of the wonderful Stan Lee does not mean we loose the style and wit the MU has created.

 

E. M. BLESS’ON III

The Black History Month grand finale at RWCMD was my personal cultural event of 2018 because it attracted a broad spectrum of the community. Attended by many dignitaries including the outgoing First Minister – Carwyn Jones AM, newly-elected First Minister – Mark Drakeford AM, Cabinet Secretary for Health, Wellbeing and Sport – Vaughan Gething AM, young people and several elders from various communities in South East, West and North Wales, it was a celebration of diversity in Wales.

Gareth Williams

Keeping Faith

From its humble beginnings as Un Bore Mercher on S4C, I could never have imagined that this drama would prove to be so popular with UK audiences. Subsequently broadcast in the English-language on BBC1 Wales, it would become the most downloaded show ever on BBC iPlayer before being shown on primetime BBC1 in the summer. Deservedly sweeping the board at the BAFTA Cymru Awards, I will be outraged if Eve Myles is not at least nominated for a BAFTA in 2019. Her portrayal of Faith Howells, whose world is rocked by the disappearance of her husband, is deeply emotional and utterly captivating. This is surely her defining role.

Wild Silence – The Wandering Hearts

If I had to pick one album to recommend from 2018, it would Wild Silence by The Wandering Hearts. When I first heard it, it was their incredibly refreshing and genre-blending sound that captured my attention. The more I’ve listened to the album, the more the lyrics have come to the fore and I’ve discovered another fascinating layer to their fabulous array of songs. To finish the year seeing them live in Liverpool confirmed my belief that these guys are destined for bigger things.

Home, I’m Darling, Theatr Clwyd

My theatre highlight this year has been this co-production between Theatr Clwyd and the National Theatre. With its life-size house for a set, its bold and brash set design, and its wonderful costumes, the overall look is enough to pull you into its 1950s world. Starring Katherine Parkinson and Richard Harrington as the couple living it up in a lifestyle of nostalgia, its saccharine exterior slowly melts away to reveal a darker and very pertinent narrative that will have you firmly gripped from beginning to end. Another triumph for Artistic Director of Theatr Clwyd, Tamara Harvey and her team.

Review Saturday Night Fever, Wales Millennium Centre by E. M. Bless’On III

Needless of an introduction, the original Saturday Night Fever is unarguably one of 70’s top cult-classics. The film depicts the life and times of the disco-dancing legend, Tony Manero (John Travolta) as he moves on the dancefloor of Brooklyn’s club scene and the ups and downs of life, career, money, family, friends, relationship and love.

Having watched the original, the main question is whether this Tony (Richard Windsor) would have the energy and flair to match Travolta. He did not disappoint. Tony sprang to life bringing with him characters hitherto buried in our fond memories. The picture in the first disco scene (in Bay Ridge) was vividly painted as live as a real 70’s disco. It sure would have been nostalgic for any party-goers of that generation and one would not hesitate to transpose into it. The choreography, ambience, costume, stage management was faultless, even through my eagle eyes.

In view of the current concern around Diversity and Inclusion in the Arts, producers surely have paid attention and addressed any concerns that could have arose. The cast was fairly gender balanced. In addition, there was a sign language translator. It is imperative that sign language or any language for that matter, as well as cultural characteristics are contextualised with the most accurate depiction that include emotions and mannerism. The translator did just so. She was as much of a hit too with her dance moves from start to climatic finish. Maria and Cesar brought in the Afro-Latino flavour on the dancefloor, whiles the club MC with his energy, rich and electrifying voice was exuberant and so natural that he reminds me of a real Hype Man in a rap group with his exclamations and interjections.

The only disappointment is the occasional burst of unnecessary swearing and derogatory language, which would be off-putting to many. There were young people, possibly young teenagers in the audience. The show is decent enough to make it as a family show but in terms of the language – I sincerely believe the producers dropped the ball. Nonetheless, just like after a Saturday Night out, there was a takeaway for everyone. Apart from the obvious entertainment, there was the lesson about family, friends, wellbeing and suicide. Tony, preoccupied with his career and faintly aloof love life, failed to be a support to his friend Bobby C. at a time when he needed him most. Bobby was expecting just a phone call, that never came and the disappointment eventually led him to commit suicide.

If there is any homage one can pay to such an iconic movie on stage, then this, did just that. It was nothing short of passion, drama and entertainment with classic hits from the 70’s. It was almost a psychedelic torture as one had to control involuntary twitching (really!?!) and just sit (seriously!?!) to watch a musical with songs such as Stayin’ Alive, How Deep Is Your Love, More Than A Woman (yes, really seriously!?!). When all was said and almost done, those in the audience who were clearly suffering from the 2 hour BDS (Boogie Deficiency Syndrome) could not help but spring into dancing during the last song. The climatic closing was more of a celebration of a legend reborn, with the theme tune Saturday Night Fever on full blast!

By E. M. Bless’On III

Review: Alice in Wonderland, Sherman Theatre

The Sherman Theatre have finally let their Christmas show out into the world! This year, from Friday 23rd of November to Saturday 29th of December, you can catch Mike Kenny’s adaptation of Lewis Carroll’s classic Alice in Wonderland at the Sherman theatre. I was lucky enough to see the show on its press night to see how Rachel O’Riordan’s direction combined with Mike Kenny’s writing to bring Alice in Wonderland to life. I’ll be reviewing this whole production including the cast, characters, design and also the style of the adaptation. Continue reading Review: Alice in Wonderland, Sherman Theatre

Review of “Wicked” at the WMC by Roger Barrington

 

4 out of 5 stars (4 / 5)

 

 

I sometimes think that I am living my life in reverse. When I was young, I was a bookish lad – reading Tolstoy whilst still in primary school for instance. I was as far removed as being Wicked as you can imagine. I have been compensating for this ever since!

“The Untold story of the Witches of Oz” is how this musical is promoted. In case you ever wondered about this, then this story will reveal all.

I never cared much about “The Wizard of Oz” . I couldn’t see myself trundling along the Yellow Brick Road, with Dorothy, Scarecrow, Lion and Tin Man. One thing that as always puzzled me about this story. Obviously there is rain in the land of Oz (Somewhere over the Rainbow”), so wouldn’t the Tin Man resemble a character on TV from my teenage days from “The Magic Roundabout”?

So “Wicked” returns to Muchkinland and follows the adventures of Elphaba, the Wicked Witch of the West.

When Elphaba leaves home to attend Shiz University, a kind of Munchkinland Hogwarts, she is very green. Not only in the meaning of life, but, literally, green. Her green skin means that she is ostracied by society and she fails to make friends. That is until she meets Galinda, who later becomes Glinda, and after an unpromising beginning, a close friendship develops between them. A friendship that is tried and tested along the way. Eventually they make their way to The Emerald City where  Elphaba meets and confronts the Wizard of Oz. The nefarious wizard is behind a pogromist type plot against the animals of the land. In defending them, Elphaba suffers a fall from grace and is hunted herself.

The story does have serious themes. The devotion to fitting in and being attractive, that is hugely important to American young girls in particular and is personified within the  character of Glinda. “Beauty is only skin deep” as exemplified between Elphaba and her love interest Fiyero. The pogrom against the animals, in this case shown by the expulsion of Dr. Dillamond, a goat Professor at Shiz University, reminds us of 20th-century historic events in Armenia, Nazi German, Russia and China.

The show premiered on Broadway on 30 October 2003 after a trial run in San Francisco and is still showing at the Gershwin Theatre. It’s success reversed the trend of recent musical smash hits that originated in Britain, and has provided the impetus for an American resurgence in the genre that it started.

Music and lyrics are by Stephen Schwartz who announced himself to the world of musicals with his 1971 smash hit, “Godspell”.  I can remember that a criticism of this show at that time, was that it was derivative of  Lloyd Webber/Rice “Jesus Christ Superstar” that preceded it by a year. Similar criticism has been aimed at “Wicked” for cashing in on the Harry Potter phenomenon. The music is nothing special , largely generic 21st century fare. The lyrics work better though.

In the performance that I viewed, Elphaba was played by Amy Ross and Glinda by Charli Baptie. Ross belts here songs over with such an intensity, it can verge on the strident.   Baptie possesses a more cultivated voice and shows an admirable talent for comic timing. For me, although Ross puts in a strong performance, it is Baptie, understudy to the stricken Helen Woolf who takes the performance honours in this production. Good support is provided by Aaron Sidwell, (Fiyero), Kim Ismay, (Madame Morrible), Steven Pinder, (the Wizard of Oz) and Emily Shaw as Nessarose, Elphaba’s invalid sister, who in Winnie Holzman’s book that the musical is based upon, becomes the Wicked Witch of the East.

Where the shows does really hit the heights is in Eugene Lee’s spectacular set design and Kenneth Posner’s lighting. Between them they conjure up a magical environment full on. The scene where Elphaba levitates and is caught in mid-air by the searchlights , that ends Act 1 is one of the most striking images that I have encountered in nigh on fifty years of theatre-going.

 

 

 

 

 

 

 

Wayne Cilento’s musical staging and James Lynn Abbott’s dance arrangements are also excellent and provide many memorable scenes, especially of the flying monkeys.

Susan Hilferty’s resplendent costumes also enhance the visual quality of this show.

Live music is also provided under the direction of David Rose and the orchestra acquit themselves well.

“Wicked” is a confident, (verging on brashness), visually impressive musical, that for most of you will weave sufficient magic from its wand, and put you under a spell that immediately renders a state of anesthesia whereby you forget its equally impressive admission price.

 

Continue reading Review of “Wicked” at the WMC by Roger Barrington

Review: Cardiff Boy at The Other Room by Gareth Ford-Elliott

5 out of 5 stars (5 / 5)

Kevin Jones’ monologue Cardiff Boy is a nostalgic jump into the 90’s with a story as relevant today as it was in the 90’s. A story of male friendship that explores toxic masculinity with a killer 90’s soundtrack.

Narrated by “the quiet one” of the group, the story follows a group of young Cardiff lads as we join them on a night out. The use of set, sound and lighting design really add to Jones’ descriptive and emotive piece, which is guided well by director Matthew Holmquist and actor Jack Hammett.

Jones’ writing in this piece has its strength in the language. Whilst the plot is fairly basic, it is the expression of the characters that really stands out. Jones uses a clever mix of comedy and archetypal characters to juxtapose the hard hitting moments of the play. This works very well and makes the play relatable, enjoyable whilst also saying something unique.

There’s more you want to know about the characters and paths that are left unexplored. But not in an unsatisfying way. Details such as the protagonist’s relationship with his father is touched upon, but quickly brushed over by the protagonist. A detail that could be explored, but the lack of clarity of which is harrowingly too real for many young men.

When the audience enter the space of The Other Room, we leave behind Porters, the pub within which the theatre resides. However, with Cardiff Boy, The Other Room literally feels like the other room of the pub, such is the strength of the set design.

photo credit Kirsten McTernan

 

 

 

 

Sitting down you’re greeted by benches and chairs scattered throughout the room, with tables on which to rest your drinks. And as Hammett wanders between you and the other audience members, it is hard not to feel a strong sense of place.

This is heightened with the hanging photographs of 90’s Cardiff, which act as a sort of scrapbook of the protagonist’s photography collection. Photography and perception is used at various times by the protagonist to set the scene, with the city and locations generally described in great detail. Looking around at these fragments of Cardiff hanging from the ceiling, creates a very evocative feeling that makes it easy to get drawn in.

The directing of Matthew Holmquist is another strength of this piece. Not an easy piece to take on, such is the temperamental nature of the script. Without a brave director, that temperament could easily become a major flaw. But, the tone of the piece is handled brilliantly by Holmquist who allows the moments of emotion time to breath, without letting them take over.

Jack Hammett does a good job of portraying the protagonist and his mates as he bops around the room. In particular moments of vulnerability, which defines his “quiet” character, stand out. Ultimately a play about difference in men, Hammett does a great job in portraying this.

The use of sound is crucial to this play, and it doesn’t fail to impress. The soundtrack is obviously brilliant for anyone who enjoys 90’s music. Often used to comedic effect, the music, like the photographs, has a deeper meaning to the protagonist of the piece. Sound is also key in setting the scene and does so well.

The only issue for sound designer Joshua Bowles to work on would be that the level of the sound often drowns out Hammett’s voice. On occasion this works, for example in the club, where you can never hear anyone anyway, however, probably an occurrence too regular were that the desired effect.

photo credit Kirsten McTernan

 

 

 

The use of lighting from Ryan Stafford is understated. Often going unnoticed until you try to see it, the lighting adds to the overall piece well. A tough play for lighting, as the stage is the entire room, Stafford manages to keep it effective without distracting. Even when there are flashing lights, you barely notice it because the music, direction and acting are all working together with the lighting to set the scene.

Perhaps this is the biggest compliment to Cardiff Boy and Red Oak Theatre as a wider company. A company that views the roles of the designers as importantly as the director, writer or actor. Something that is weirdly rare when you consider how well it has worked in Cardiff Boy and how vital these professions are to the theatre industry.

It’s good also to see that with this in mind, Red Oak are committed and passionate about developing young artists with a paid assistant director (Nerida Bradley) and assistant designer (Lauren Dix). A company no doubt restricted by a budget won’t always do this, so it’s nice to see Red Oak committing to young artists in this way.

Along with this, it is heartening for a piece that started at a scratch night, to grow into such a strong piece of theatre. Again showing Red Oak’s commitment to new work and new artists.

Overall, Cardiff Boy is a wonderful production. It’s hard to say anything stands out in this production as everything works so well together to achieve its aim. However, April Dalton’s design, assisted by Lauren Dix, is phenomenal and deserves recognition.

The play’s greatest strength is the team behind it because with another team, and another company, Jones’ emotive script could be easily forgotten.

Cardiff Boy by Kevin Jones
Presented by Red Oak Theatre
Running From: 30 October – 11 November 2018
Performed at The Other Room, Cardiff
Director: Matthew Holmquist
Cast: Jack Hammett
Designer: April Dalton
Lighting Designer: Ryan Stafford
Stage Manager: Joshua Bowles
Sound Designer: Joshua Bowles
Producer: Ceriann Williams
Assistant Director: Nerida Bradley
Assistant Designer: Lauren Dix

Review Passion, NDCWales/Music Theatre Wales by Judi Hughes

 

 

Photo credit: © CLIVE BARDA/ArenaPAL;

Wales Millennium Centre, 23 October 2018

Review by Judi Hughes

4 out of 5 stars (4 / 5)

 

Passion is a work for voice and body, dance and opera, written by French composer Pascal Dusapin. Written in 2008 it is based on the Orpheus legend. This production was created in collaboration by NDC Wales and Music Theatre Wales.

Directors: Michael McCarthy & Caroline Finn

Conductor: Geoffrey Paterson

Him: Johnny Herford (Baritone)

Her: Jennifer France (Soprano)

Design: Simon Banham

Lighting design: Joe Fletcher

Sound: Sound Intermedia

Dancers: Cyril Durand-Gasselin, Nikita Goile, Ed Myhill, Julia Rieder, Malik Williams, Queenie Maidment-Otlet

Vocal Ensemble: EXAUDI

Ensemble: London Sinfonietta

To give some context to this review, I decided to see Passion for several reasons: I like the work of NDC Wales, I have seen some of Caroline Finn’s choreography and feel I like and appreciate the way her mind works; I have seen several pieces by Music Theatre Wales and like the alternative aspect that they bring to their work; I have seen some great dance with live music and more recently I have begun to appreciate opera. A contemporary performance that puts all these things together seemed to be something I shouldn’t miss.

Grateful to the programme for some useful advance information, I was armed with the basis of the story based on the Orpheus legend and the roles that the characters played. I was a bit disappointed with the publicity for the show, which gave no indication of the splendidly staged production that I was about to see.

I sat in the audience waiting for this opera dance to begin and when it began I thought, ‘how is this going to work then?’ Slowly and step by step all the elements grew together and what seemed to be impossible came together to make the whole.

The lighting & design were amazing and essential parts of this production. All the elements of dance, opera, live music, vocals and soundscape worked together and were enveloped by it. The blue ladder was so engaging that it was almost another character and watching the production scene by scene became like seeing a series of beautiful paintings over and over again.

At first the ‘others’ seemed surplus but gradually they were woven into this complex collage, responding to the music and soundscape, giving rhythm and life to the work. The sounds of an intake of breath were haunting, nightmare-like and helped to create the atmosphere of the imagined underworld.

The quality of choreographer and skill of the dancers worked seamlessly alongside the male and female opera singers. Both had strong voices and whilst I couldn’t always make out the words, their interpretation and vocal agility was wonderful to hear. Together they told this tale of lost and dying love, dramatic and ethereal in their presentation.

The stunning imagery created by the set and lighting designers, especially commissioned for this project are absolutely central to the work. Production images by Clive Barda are available on the Music Theatre Wales website: http://musictheatre.wales/productions/passion

‘Lighting always plays a big part in the emotional dramaturgical path…the set is absolutely beautiful. Simon’s work is such a joy to light because it has this wonderful contrast in texture and colour…’ Joe Fletcher, Lighting Designer on Simon Banham’s design.

All credit must go to what must have been an incredible amount of hard work from all of the performers, creators and collaborators. I was unexpectedly riveted to the story they told and absorbed in the whole aspect of the show.

The production is currently touring and can next be seen at

LOWRY, SALFORD

Tuesday 6 November

THEATR CLWYD, MOLD

Saturday 10 November

Audio Information on The Last Five Years by Leeway Productions

Leeway Productions supported by Wales Millennium Centre, and in partnership with Blackwood Miners Institute presents

THE LAST FIVE YEARS

Written and composed by JASON ROBERT BROWN ­­­­­­­­
A hit both off-Broadway and internationally, The Last Five Years comes to Wales for the very first time.

This ground-breaking production combines an emotionally powerful score with sign language and beautiful movement by award-winning deaf choreographer Mark Smith.

This intimate musical charting New Yorkers Cathy and Jamie’s passionate five-year relationship is an affecting tale of love found and lost. By turns funny and poignant, with catchy tunes and a clever chronological twist, The Last Five Years will keep you riveted from beginning to end… or should that be from end to beginning?

Supported by the Arts Council of Wales, Welsh Government and the National Lottery.
Every performance of The Last Five Years is accessible to D/deaf, deafened and hard of hearing audience members, with open captioning and integrated sign language to be enjoyed by all.

For full tour dates and booking information, visit www.leewayproductions.com

 

Leeway Productions â chefnogaeth gan Ganolfan Mileniwm Cymru, ac mewn partneriaeth â Sefydliad y Glowyr Coed Duon

THE LAST FIVE YEARS

Ysgrifennwyd a chyfansoddwyd gan JASON ROBERT BROWN

Ar ôl llwyddiant eithriadol oddi ar Broadway ac yn rhyngwladol, daw The Last Five Years i Gymru am y tro cyntaf erioed.

Cyfuna’r cynhyrchiad arloesol yma sgôr ddirdynnol gydag iaith arwyddion a dawnsfeydd hardd y coreograffydd byddar mawr ei glod, Mark Smith.

Mae’r sioe gerdd onest yma am gariad a thorcalon yn dilyn hynt Cathy a Jamie, cariadon o Efrog Newydd, gan daflu golau ar bob cam o’u perthynas pum mlynedd tanbaid. Gan blethu’r doniol a’r teimladwy, gyda chaneuon bachog a chronoleg stori glyfar, bydd The Last Five Years yn eich cadw chi ar flaen eich sedd o’r dechrau un hyd at y diwedd… neu dylwn ddweud o’r diwedd i’r dechrau…

Mae pob perfformiad o The Last Five Years yn hygyrch i aelodau cynulleidfa sy’n drwm eu clyw neu’n fyddar, gyda chapsiynau agored ac iaith arwyddion yn rhan annatod o’r sioe.
Cefnogwyd gan Gyngor y Celfyddydau Cymru, Llywodraeth Cymru a’r Loteri Genedlaethol.

Y Daith: www.leewayproductions.com

Fame: The Musical at New Theatre, Cardiff by Barbara Hughes-Moore

‘You want fame? Well fame costs and right here is where you start paying – in sweat!’

This is the warning that Principal Sherman (Mica Paris) gives the audience, and the future class of ’84, as the curtain opens on NYC’s School of Performing Arts. Students flock here, hoping it holds the key to one day seeing their name in lights. But these hopefuls, like the musical they inhabit, have a lot to live up to, and not all of them make it to the top.

I somehow missed the boat on the entirety of the Fame franchise, knowing only the excellent title song, the iconic street dance scene, and a vaguely sketched synopsis. This UK tour is a restaging of the 1988 musical, developed by David De Silva, story by Jose Fernandez and original music/ lyrics by  Steve Margoshes and Jacques Levy, which incorporates elements of both the movie and the series that came before it.

We’re first greeted with a wonderfully evocative image: a bird’s-eye view of a taxi driving down a skyscraper-lined street, the sounds of traffic transporting us to a balmy summer in 80s NYC. The production design is never quite as effective after that; for most of the action, the stage is illuminated by yearbook photos of the cast, perhaps implying that this is the closest some of the characters will get to seeing their names in lights.

Although the actors work incredibly hard throughout, the characters sadly aren’t much to hold up the two and a half hour runtime, neatly slotting into the archetypes we’ve seen time and again. We have the talented but overconfident hopeful (Stephanie Rojas’ Carmen), the insecure progeny of a prodigy (Simon Anthony’s Schlomo), the hipsterish wannabe playwright (Keith Jack’s Nick) and the shy girl with an unrequited crush (Molly McGuire’s Serena). And despite the talent on display, some of the cast members are about as convincing as high schoolers as Steve ‘how do you do, fellow kids?’ Buscemi was in 30 Rock.

Jamal Kane Crawford’s Tyrone has the most compelling story by far, as a young African-American man trying to make it in the white-dominated world of professional dancing. Getting by on his natural talent and charm, Tyrone focuses on the performance side of PA over the academic in an attempt to avoid anyone finding out about his dyslexia. One of the few powerful scenes in the production involves Tyrone opening up about this to Principal Sherman, and Crawford shines in the role, especially with his fellow dancer and love interest Iris (a lovely turn by Jorgie Porter).

However, the most egregious mistake this production makes is the music. Despite an excellent finale featuring the titular iconic tune, the rest of the setlist is an exercise in mediocrity. At one point, Schlomo criticises Carmen for lyrical blandness, which, frankly, was a bit rich coming from a show featuring possibly the most clichéd songs I’ve ever heard. And the ballad they write together, ‘Bring on Tomorrow’, heralded in-show as a future hit, has the emotional richness of a ringtone.

The songs here are as generic as the American (Generican?) accents on display. The ballads in particular are pretty dire (and I really didn’t need multiple reprises of ‘Let’s Play a Love Scene’, ‘I Want to Make Magic’ or ‘In L.A.’), but not quite as bad as the nightmarishly on-the-nose ode to Meryl Streep, creatively titled ‘Think of Meryl Streep’. There’s nothing that reaches the tuneful heights of ‘Hi-Fidelity’, the melancholy magnificence of ‘Beautiful Dreamer’, or the delightfully disco-ish ‘I Can Do Anything Better Than You Can’ from the beloved series. It’s a shame to squander such uninspiring songs on a clearly talented cast who deserve better, especially Mica Paris, who is burdened with a thankless role and the most clumsily literal number of the show in ‘These Are My Children’.

For a show which proclaims the value of innovation over duplication, it sure does bask in banality. And yet it kinda messes up the bit we were all waiting for. ‘There’ll be no dancing on cars here’, Miss Sherman states, as if leaving out the most iconic scene from the film was some kind of subversive, revolutionary act. Not having the cast dance on cars at the end was a sin of the same magnitude as The Importance of Being Earnest daring to omit ‘a handbaaag?!’ We came here to see the street dance scene, Fame – and, car-less through it was, it still eclipsed every other number with its timeless intensity.

In the end, the musical suffers greatly in comparison to its predecessors, possessing none of their charm or quality despite the best efforts of a great ensemble cast. It has neither the gritty realism of the original movie, or the frenetic joy of the tv series, and sits somewhere between the two as the awkward, sleazily comedic middle child of the Fame family. Plus, it manages to be even less progressive than its forbears, particularly in its treatment (or is that wilful omission?) of LGBT characters. If you are a die-hard Fame fan, particularly of the musical itself, I’m sure you’ll enjoy this latest production. But, for me, it hasn’t got what it takes.