The Sound of Music is a musical masterpiece from the talented duo Rodgers and Hammerstein. Based loosely on the life of Maria Augusta Trapp and her journey from novice Nun to devoted mother. The Sound of Music has taken the drama which hangs on the story ‘The Trapp Family Singers’ (written by Maria) and has condensed it into a stage musical with a romantic rosy glow.
Oscar Hammerstein’s lyrics are set to music by Richard Rodgers and between them they produced wonderfully descriptive songs that take us from an abbey, to the top of a mountain and capture family life in its simplicity. These songs have been sung by enthralled cinema and theatre goers worldwide for the last five decades.
Indeed, I found myself singing whilst working the following morning, tending sheep in a windswept field in South Wales. Perhaps not such a dramatic landscape as mountains of Austria in the summer, but uplifting all the same.
The story of the family is set in Austria in 1938 with WWII on the horizon. Maria is a young novice Nun who is sent by the Mother Abbess to the home of Captain von Trapp to act as governess and care for his seven children.
Without a mother the children crave the attentions of their father who in his grief has distanced himself from the children, their family home and the memories it holds.
The welfare of the children is Maria’s primary concern and she can see how much they need to regain the love of their father. All she wants is to see the children happy again. She teaches them how to sing and bring music back into their lives. Little does she know that the Captain is himself an accomplished musician and singer and when eventually he hears the children singing it breaks the spell of his unhappiness and allows him to rebuild his relationship with his children whilst unwittingly falling in love with their governess.
Lucy O’Byrne gives an outstanding performance as Maria as does Neil McDermott as Captain von Trapp and for me, much more believable that Christopher Plummer ever was, maybe it was the beard.
Megan Llewellyn was a truly realistic Mother Abbess, kind, compassionate, and wow, what a voice!
The nuns were outstanding, their voices breathtaking and the children adorable in every scene. It was easy to imagine their lives being improved by the arrival of a much needed mother figure who would love them and bring their family back to life.
The set design was a triumph. The audience was transported from the Abbey to the Von Trapp residence effortlessly. The sets were vast and visually beautiful providing an atmosphere that extended well beyond the boundary of the stage. The vastness of the scenery and the skillful way in which it was brought to the stage added to the audience being effortlessly transported from place to place. Although the New Theatre is not the size of a West End stage, for the visual effect and the performances, it was for this production.
It would be unjust to single performers out as this was a whole cast production of talented individuals who together made us believe that we were there.
The audience were so engaged with story and the performances that I am certain that I head an audible ‘boo’ for the Nazi Officer!
Although unseen the orchestra gave an awe inspiring performance of musical talent. The balance of instruments and voices were perfect and crated a world of musical pleasure that elevated the entire show to completely fill the auditorium.
It was no surprise at the end of the performance when the audience rose to their feet before the curtain call and gave the entire cast the standing ovation that they so clearly deserved.
This really is a ‘must see’ production. I was only disappointed that it was not like the film shown in the 1960’s when you could remain in your seat and see it all over again.
It seems like 2018 is going to be another great year for new theatre in Wales. Having seen a development stage of Cwmni Pluen’s next show, I’m really looking forward to seeing a final production from them this autumn. Pluen has a definitive performance style which I’m always excited to see. They’re also working in collaboration with charities during the development of the piece which I think sets a great precedent for future companies making new work. I also can’t wait to see National Theatre Wales’ Love Letter to the NHS. While the NHS is under siege from; medical companies charging them a fortune for treatment; government cuts; surgery closures; and an all time waiting list high; it’s important more than ever to support and celebrate our National Health Service in face of adversity.
My personal hope for the year is to successfully tour Motherlode’s next production Exodus. The piece was developed in Aberdare with generous support from our long term collaborators and co producers RCT Theatres and will be part of their year long 80th birthday celebrations, which includes lots of new work by exciting artists. Exodus is also supported by Creu Cymru, Bristol Old Vic, Night Out Wales and Chapter, touring to 12 venues across Wales before running in London. Gulp… I just hope we pull it off!”
Gareth Coles, Voluntary Arts Wales Director / Cyfarwyddwr Celfyddydau Gwirfoddol Cymru
Recently I’ve been losing myself in the acoustic EPs of the guitarist Yvette Young who also writes and performs with the band Covet. She will be releasing a piano EP early this year, and having heard some snippets, I can’t wait to hear the whole thing.
On a personal creative note, I’m hoping to develop my drawing this year. I seem to have spent most of 2017 hurriedly sketching, but having developed the habit of drawing daily, it’s time I started working on some longer and more thoughtful pieces. I have also just started playing the piano again after many years’ hiatus, so I’m hoping my rusty playing will become slightly less objectionable by the end of the year.
Simon Coates, National Theatre Wales’, Head of Creative Development
The Terra Firma Spring Tour by NDCWales including the mesmeric Tundra by Roy Assaf. EXPERIMENTICA Festival at Chapter will back again for another year of live art from all over the UK and further afield in April.
And finally I am hoping to make it along to Abercych to join one of their experimental Twmpaths with Simon Whitehead and his collaborators.
Geoff Cripps, Board Member, Theatr na Nog, Creu Cymru and musician with Allan y Fan
At the end of January I am delighted and privileged to return to Glasgow as one of the 180 delegates to Showcase Scotland – a very important element within the world’s greatest mid-winter music festival. The five days I will spend here will definitely kick away any lingering vestiges of mid-winter blues! Don’t know yet which artists I will see/hear in total but I am pleased that in the festival’s 25th anniversary year the Showcase Scotland partner is Ireland. Still hoping that one year Wales will create something of lasting value like this event which has had such a powerful impact on the development of Scottish Artists in an international setting.
I have yet to pick what to see closer to home in the valleys but am looking forward to visiting RCT Theatres, The Borough Theatre and Blackwood Miner’s Institute on several occasions during the year.
My personal hopes for 2018 include doing my best to ensure that Theatr na nÓg builds on the great achievements of 2017, that Creu Cymru continues to be the essential organisation for the theatres and arts centres of Wales and, on a real personal note, that my band Allan Yn Y Fan have our most successful concert ever in Blackwood Miner’s Institute on 28th March!
I am sure that every other contributor will make their feelings known about “Brexit”, “POTUS”, the “Maybot” etc. etc but I am deliberately trying to keep this light-hearted.
Let’s hope that despite everything the Arts In Wales continue to deliver life-changing experiences, uncover nascent talent, connect more deeply with their communities and audiences. Finally I hope that BBC Wales finally delivers a year-round coverage of the Arts In Wales.
My personal hope is to be continued to be inspired and surprised by writers and artists pushing boundaries and creating work that moves me and reminds me what it is to be human.
Peter Doran, Artistic Director, Torch Theatre Company
On a personal level, I’m really looking forward to directing our next production, The Wood by Owen Thomas; its always exciting to tackle a new piece of writing, one never really knows if it will quite come off as expected or hoped. Giving the success we had with Owen’s last play Grav (shortly to go to New York), we have high hopes but we know that there’s a great deal of hard work in front of us. I’m also working on it with two actors, whom I’ve never directed before (Ifan Huw Dafydd and Gwydion Rhys), so that gives an extra frisson.
Elsewhere, I always look forward to Vamos coming to the Torch; Vamos are a full mask company who do wonderful work, this season they are touring a piece about the war in Afganistan called A Brave Face, one to look out for. I loved Liverpool Everyman’s repertory season last year and I’ll be interested to see if the second season is as successful – A Clockwork Orange sticks out as a highlight for me.
My personal hopes? That the true value of art and culture is appreciated and not seen as the icing on top of the cake. It’s not a commodity that can take it’s stand in the market place and compete; it has to be nurtured, supported, fed – if not, it will wither away and die.
Tom Goddard, Artist and Criw Celf Coordinator
In a time when Netflix is elevated to the role of religion, Shezad Dawood’s Leviathan satisfies our obsession with marathon box set watching, with this ten part film series. First at last year’s Venice Biennale and the series continues now at Mostyn, Llandudno in March.
Ragnar Kjartansson, Artes Mundi 6 nominee, will return to Wales to present a brand-new performance piece, The Sky in a Room which will feature a series of revolving local organists performing the 1959 hit song “Il Cielo In Una Stanza” (The Sky in a Room) on the 1774 Sir Watkins Williams Wynn organ.
Chapter’s Experimentica, will roll into town again in April and is always guaranteed to raise a smile and challenge in equal measure with a real range of refreshing voices and ideas from the world of live art. NS Harsha,Artes Mundi 3 winner, will return to Wales at Glynn Vivian in Summer 2018 presenting screening printing, installation, sculpture and drawings.
Glynn Vivian will also be opening late once a month offering performance, music, workshops as well as curatorial opportunities for young people.
Simon Harris, Playwright and Director of Lucid
It would be a bit matey of me to select 2018 highlights from Wales, so the two things outside of Wales that I’d really like to see are Chris Goode’s staging of Derek Jarman’s Jubilee which has been at the Royal Exchange n Manchester and is going to the Lyric Hammersmith. Because punk’s not dead. The other is Dead Centre’s new production at the Schaubuhne of Shakespeare’s Last Play – partly to see the work and partly to go to Berlin as I’ve never been there and I’d like to go before the world ends.
I’m a little overwhelmed by how far away we are from how I’d like things to be in 2018. There’s so much to do in so many areas, it would be easy to give in and give up. But I’m drawn to some of the determined spirits out there and so my main hope for the sector is that we move to a more productive, more innovative, less hierarchical approach to making work. I would like to see some of the fake differences between Arts Council Wales portfolio and the remaining group of artists and companies done away with. I’d like to see individuals and companies allowed to apply for larger sums and for more extended periods of work, instead of one-off projects. Most of all I’d like to some vision that can lead to the release of the amazing potential of artists in Wales and their work. Oh, and a bit more honest dialogue and a lot less self-referential, self-congratulatory bulls**t.
Steffan Jones-Hughes, Director Oriel Davies
There’s so much exciting art to see in 2018!
January sees Nova open at Aberystwyth Arts Centre. An exciting exhibition of young contemporary artists originated by the Royal Cambrian Academy. Look out for inaugural award winner Paul Eastwood, and also Catrin Menai, Rory Duckhouse, and AJ Stockwell. Aberystwyth Arts Centre- 25.1-1.4 2018
February I can’t wait to see The Sky in a Room by Icelandic Artist, Ragnar Kjartansson. The exciting performance will see a series of revolving organists performing the 1959 hit song “Il Cielo In Una Stanza” (The Sky in a Room) on the 1774 Sir Watkins Williams Wynn organ, and will run from 3 February to 11 March at National Museum Cardiff.
June sees The Oriel Davies Open inviting artists from Wales, UK and internationally through Open Call to show work. I’m on the selection panel along with Jane Simpson (artist & Director Galerie Simpson), Matthew Collings (writer and curator), Sacha Craddack (curator and writer. TBC), and Alex Boyd Jones, Curator OD. Oriel Davies Open 2018 23 June – 5 September.
My personal hopes are that 2018 will be a time of unleashing potential, harnessing prosperity and celebrating the power of community within society.
Paul Kaynes, Chief Executive Officer, National Dance Company Wales
Firstly the home team: NDCW are about to set off on our long Spring tour taking in all of Wales, the UK, Austria and Germany with works by Resident Choreographer Caroline Finn (in Cardiff you have another chance to see her beautiful, haunting FOLK) and the mesmerising Tundra by Marcos Morau – already an international hit. Later this year watch out for a contemporary dance-opera we’re presenting with Music Theatre Wales in October/November. It’s a beautiful work.
To finally see every organisation in Wales tackling all barriers to access, rather than relying on one or two organisations. Saying this, we have to upskill those creating the work at grassroots level for this to be achievable, so I hope to see lots of money being ploughed into this.
I hope my production of the musical The Last 5 Years comes to fruition and tours Wales Autumn 2018 as this has access at its heart and supports BSL as a culture.
I look forward to seeing our Opera Bites event expanding a little as well as some exciting developments with our 10 Minute Musicals project come to fruition. We have a sharing of this work at Millennium Centre, February 25th, Blackwood Miners Institute, February 27th and then we are sharing it at Focus Wales 2018 which is hugely exciting for this project and all the artists involved.
There is a piece I started to develop last year with Eddie Ladd based on Rapture by Carol Ann Duffy which we hope to pick up this year. It’s a piece very dear to me therefore I hope we make this work for us. Building in this there may be another exciting collaboration with Eddie in the pipeline. Watch this space. Our work compliments each other wonderfully.
I hope to see more of my daughter this year, drink less rose wine and get back into the gym at more regular intervals. I am also hoping to renovate my kitchen and become a better cook!! I have also vowed to explore the landscape I live within this year and reconnecting with nature a little.
Bethan Marlow, Writer
2018 feels like a fresh year. There’s a lot of courage in the air, people are standing up and shouting out, dirty secrets are no longer protected and new manifestos are being drawn. I’m crossing all my fingers that this also means that we’ll see fresh and courageous cultural activity all over Wales in all languages.
I hope we all, and I’m very much including myself here, have the courage to dig deep and create what we need and want to create this year. Not what we think people will go and see or what we think will tick funding boxes but what our guts are screaming for us to make.
David Mercatali, Associate Director, Sherman Theatre
I am hugely excited to be working with the fantastic Welsh writer Katherine Chandler and the next generation of acting talent on the world premiere of Buddy. The play is part of NEW:2018 and is a co-production between RWCMD and Sherman Theatre.My wish for the New Year would be for anyone living in Cardiff who hasn’t been to the theatre yet to give it a go!
My personal hopes for 2018; In light of the funding threats to my local arts centre at Pontardawe, I hope that the people who make these detrimental decisions recognise the importance of the arts and their effect on our wellbeing. I hope that communities begin to make more use of all local arts centres and that artists and creatives have the freedom and funding to encourage and inspire those that are blind to its relevance in our society today.
Mae son bod cynhyrchiadau newydd ar y gweill gan Mercury, Neontopia a Triongl, a gobeithio bydd Na’Nog yn atgyfodi Nye and Jennie gan i mi ei fethu yn y Metropole yn Abertileri,a pwy a wyr pa ddanteithion daw i’n diddanu pan ddaw’r Eisteddfod i Gaerdydd ym mis Awst.
O’m rhan fy hun mae gen i brosiectau gyda’r Theatr Genedlaethol, Na’Nog, Theatrau RCT a Canoe a dwi’n gobeithio bydd fy sioe un menyw am Rachel Roberts (Yn Gymraeg) yn digwydd o’r diwedd!
I am looking forward to Theatr Genedlaethol’s latest productionY Tad ( Le Pere) by Florian Zeller trans. Geraint Lovgreen (Touring 21 Feb- 16 March) with Dyfan Roberts as the father. Dyfan and I began our careers together back in 1970! Also Theatr Pena’s production Women of Flowers by Sion Eirian after Saunders Lewis (Touring 1Feb-9 March) with the amazing Sara Lloyd Gregory as Blodeuwedd. I shall venture to Pontrhydfendigaid for a poetic and cinematic recreation by Mike Pearson and Mike Brookes as they embark on a three year project with NTW under the title The Storm Cycle with Nothing Remains The Same (15-17 Feb) and they promise seating- indoors! And fireworks! In a timely production about minority languages Theatr Gwalia presents Inheriting The Gods by Carmen Stephens about a relationship between a young man from the Wampanoag tribe and a young Welsh Woman and is touring Feb 26-March 24. The amazing Dirty Protest celebrate their tenth birthday with Mark Williams’ play Lightspeed from Pembroke Dock (Touring 4 April-5 May).
I hear that Mercury, Neontopia and Triongl are preparing exciting things and I hope Na’Nog will revive Nye and Jennie as I missed it at the Metropole in Abertillery, and who knows what delicacies the Eisteddfod will bring when it comes to Cardiff in August!
I have writing and performing projects with Theatr Genedlaethol, Na’Nog, RCT Theatres and Canoe and I really hope my one woman show about Rachel Roberts (in Welsh) will happen this year!
Catherine Paskell, Independent Theatre Director
I’m looking forward to loads of new original performance work happening in Wales this year, but if I had to pick only two, I would choose:
Jordan Brookes Body Of Work at Chapter on 2 June. I saw this show in Edinburgh, and Jordan was nominated for the 2017 Last Minute.Com Edinburgh Comedy Award for best show. That’s what the Perrier Award is now called, so it’s a pretty big deal and this was a pretty awesome show. It was one of the best comedy shows I saw in Edinburgh last year when Dirty Protest was there with Sugar Baby. I love Jordan’s comedy – I first saw him when he was living in Cardiff a few years ago and it was fantastic to see his work get the recognition he deserves. He’s on the performance art-end of comedy (but without being up its arse) and he’s one of my favourite weirdos.
Also, I really cannot wait for Split Britches’ Unexploded Ordances at the Wales Millenium Centre for a week this March. Peggy Shaw is a world renowned artist and I saw her show with Clod Ensemble Must: The Inside Story ten years ago at the Edinburgh Fringe. It made an impact on me then as she transfixed a Victorian anatomy theatre with a raw story full of poetry and heart and pain and medicine and art. It’s a real privilege for us to see artists of this calibre creating original work in Wales and this experience will be a must see, or rather as it’s interactive art: a “must do”.
Rachel Pedley Miller, Artistic Director, Avant Cymru
In 2018 Avant Cymru are planning a busy year with Forget Me Not in January and Blue Scar in the summer.
We are working with Rufus Mufasa on her album launch on the 16th of January. Looking forward to working with Rufus and Unity further on Welsh Hip Hop projects.
Jac Ifan Moore, Director and Co-Director of Powderhouse
Theatre Dublin Carol – Sherman Theatre
Coming up in a few weeks at the Sherman. Connor McPherson, killer cast and directed by Matthew Xia. Come on, what more d’you want?
All But Gone – The Other Room
I’m really excited to see what Dan Jones will do now that he’s at the helm of The Other Room. This will be his first production as AD, and it’s a chance to see how he’s going to put his mark on that ambitious company.
Book Tribe – Sebastian Junger
Collection of essays that span history, autobiography, anthropology and psychology. What we can learn from tribal societies, what we’ve lost, and why in the modern world we’re still craving companionship and meaning.Film
The Shape of Water – Dir. Guillermo del Toro
Guillermo del Toro’s latest film gets its UK release in February, and I’m looking forward to his particular mix of strangeness. Set to the bleak backdrop of 1960’s Baltimore, it’s apparently a love story between a mute woman and a water god. Yes please.
Lucy Owen, Journalist and writer
I’m looking forward to the Cardiff Kids Literature Festival in April this year. There will be loads of events going on and it’s a great chance to meet authors and illustrators and inspire children to pick up a book.
I am super excited that a book I’ve written for 6 – 8 year olds will be published in September too. It’s called ‘The Sea House’ and I’m really hoping children will love all the characters, particularly my favourite – a brave, sparkly little fish called Fabulous!
Marc Rees Creator and curator of installation and performance
You might have seen my crestfallen face captured on the news when it was announced that Swansea didn’t win the UK City of Culture crown for 2021? Perhaps if we’d gone with the abbreviated SUKCOC ( Swansea UK City Of Culture ) it might have been a different story?I really did think that it was Swansea’s time to shine and to quote the city’s very own big haired 80’s pop icon … we could have turned it around . However there are still exciting plans afoot and one that is very close to my heart is still under wraps till the end of January but I want to mention it as it’s certainly something that I’m really looking forward to getting my teeth into in 2018.
Essentially it’s an immersive Requiem that will kickstart the Swansea International Festival 2018 – written by a twice Oscar nominated composer with a libretto by a BAFTA Cymru winning writer, sung by a world renowned choir and with a wrap around narrative led by the formidable force that is Eddie Ladd. Watch this camouflaged space.
For 2018 I’m very much looking forward to hearing more cultural stories being told by people of a diverse background. Great things are happening already but there’s still such a way to go. ‘Fio’ are doing some amazing work right now providing opportunities for BAME actors, writers and directors to showcase work and are providing a great accessible outlet.
I’m involved in TWO amazing plays with full diverse teams this year. One of them which tells a story from voices we don’t often hear from. I am working with phenomenal actors all from diverse backgrounds and I cannot wait! The plays are wonderful and I’m really honoured to be a part of it all! The theatres we are performing in are equally brilliant! Wales is a place of character, diversity and rich culture. So I look forward to us continuing to move forward within the arts and really show what we are made of.
Keiron Self, Actor and Playwright
I’m very much looking forward to Light Speed from Pembroke Dock, a family friendly and Star Wars friendly theatre show from Dirty Protest as part of their 10th anniversary. I have been lucky enough to have a few pieces perfomed by them and their stalwart crew and have a soft spot in my heart for all involved. I also saw an Rand D of the show and it touched a nostalgic string in my heart, it being about fathers and sons and a certain sic-fi film – essentially a taste of my youth.
I’m also looking forward to films coming out in February The Shape of Water Guillermo Del Toro’s new fantasy masterpiece about a love affair between a woman and a Black Lagoon-esque creature in Cold War America. I’m a great fan of Del Toro, especially Pan’s Labyrinth, and this ranks right up there next to them. Also in February Lady Bird is a film from Greta Gerwig, a fantastic indie actress making her directorial debut with a well observed coming of age talk between a mother and a daughter starring Saoirse Ronan and Laurie Metcalf.
I’m very much looking forward to a bumper year of culture in 2018. Many people interested in the arts in Wales will already be filling up their diaries.
One of the events I’m especially looking forward to is the National Eisteddfod (3-11 August, Cardiff), as it takes place this year right outside my office window in Cardiff Bay. For the first time in decades, the “Maes” (the festival site) will not be held in a field, and visitors will be able to come in and out as they chose, paying for each event individually. The “no-fence” Eisteddfod offers exciting opportunities to try out new activities, appealing to a wide range of audiences and celebrating the best of Welsh culture in all its forms.
For a relatively small country, Wales punches well above its weight in terms of literature festivals. As well as the world-renowned Hay Festival (24 May – 3 June), many more have appeared in recent years, including the excellent Cardiff Children’s Literature Festival (21-29 April) and the Cardiff Book Festival (7-9 September 2018). I’m particularly looking forward to the newest addition to the calendar, the Seren Poetry Festival at the Cornerstone building in Cardiff (16-18 February).
Pembrokeshire should take the prize for being the most bountiful county, with literature festivals in Solva (The Edge Festival – 2-5 August), Llangwm (10-12 August) and Rhosygilwen (PENfro Book Festival – September). These festivals would not take place without the dedicated efforts of community activists who believe in bringing people together and sharing a love for words. And the success of many depend on their brilliant local independent book shops.
If your dream is to take part in one of these festivals as a featured writer one day, then you should consider booking on one of the courses at Tŷ Newydd Writing Centre: www.tynewydd.wales. The many highlights include a Creative Writing for Welsh Learners course (16-18 March with Bethan Gwanas and Eilir Jones), Songs and Lyric Writing (9-14 April with Willy Russell and Stewart Henderson), Poetry: Writing about Life (20-25 August with Lemn Sissay, Sophie McKeand and Zoë Skoulding) and Writing a Novel (24-28 September with Louise de Bernière and Wales Book of the Year winner Alys Conran). There is something for everyone this year at this very special place.
I’m looking forward to seeing the completion of the epic 50ft mural by artistPete Fowler on the iconic Water Tower at Cardiff Central Station. Inspired by the stories of the Mabinogi, the mural is part of the Weird and Wonderful Wales project by Literature Wales and Cadw. The work began before Christmas, but was suspended because of bad weather. The work will continue soon and remain in place throughout 2018, when visitors from all across the globe will see it when they visit Cardiff for events such as the Volvo Ocean Race as part of Year of the Sea.
The Wales Book of the Year award is set to be another great event this year, with the ceremony scheduled to take place in the summer. Announcements will be made in March – so keep an eye out on Literature Wales’ website for details. In the meantime, I was thrilled to see that last year’s winner Pigeon(Parthian Books) by Alys Conran, is being serialised in the Western Mail. Also, the Roland Mathias Poetry Evening will take place on 23 February at The Muse, Brecon, featuring John Freeman, winner of last year’s Wales Book of the Year Roland Mathias Poetry Award, with Jonathan Edwards chairing the event.
Last year the National Poet of Wales, Ifor ap Glyn, with funding from Welsh Government and support by Cymru’n Cofio Wales Remembers (1914-1918), created and toured a multi-lingual multi-media show on poet Hedd Wyn called Y Gadair Wag/ The Empty Chair, directed by Ian Rowlands. It premiered at Yr Ysgwrn, the poet’s home at Trawsfynydd which recently opened as a visitor’s centre. By popular demand, the hope is to tour more extensively in 2018, taking in locations throughout Wales, as well as the UK and Ireland. 2018 will see the announcement by Literature Wales of a new Young People’s Laureate, as Sophie McKeand’s hugely successful two-year stint comes to an end in spring.
2018 marks 70 years since the creation of the NHS, which was established by the great Welsh politician and orator Aneurin Bevan. It’s worth keeping an eye out for cultural celebrations of this significant milestone, including a series of productions throughout Wales by the two national theatre companies, Theatr Genedlaethol Cymru and National Theatre Wales.
In other art-forms, I’m looking forward to the return of Festival of the Voice to the Wales Millennium Centre (7-17 June), the Urdd Eisteddfod celebration of youth culture at Builth Wells (28 May – 2 June), the Swansea International Festival (October 2018) and the international art prize Artes Mundi at National Museum Wales (from 27 October). National Dance Company Wales’ Terra Firma tour takes place in Spring and will be well worth a look. Last year I very much enjoyed the collaborative concerts between the orchestras of WNO and BBC NOW, and I hope to catch a few this year as well. I can also highly recommend Rungano Nyoni’s debut award-winning film funded by Ffilm Cymru Wales, I Am Not A Witch, which will be out on DVD in February.
Like many others, I was very disappointed that Wales missed out on qualifying for the 2018 FIFA World Cup, having enjoyed myself immensely in France in 2016. However, this year I can kick back, enjoy the games relatively stress-free, and pick a couple of nice countries to support. Come on Iceland!
Alastair Sill, Audio Describer for Theatre
I’m really looking forward to watching Owen Thomas’ new play, The Wood by The Torch Theatre. The Wood is inspired by a true story and commemorates the centenary of World War I. Yes, I can’t wait for that one. Another highlight has to be the Festival of Voice between 7th June and 17th June, at locations around Cardiff, created by the Wales Millennium Centre. I really want to try and get down to The Other Room this year because there’s nothing else like it in Cardiff. And anything by Gagglebabble is always fantastic!
Then personally first of all, I hope I have a happy, healthy and fun year with my two boys and girlfriend. Second, I hope York City FC find promotion to the National League, the first step back to the football league. And last, I hope to record lots of funny little anecdotes from my two boys and write a children’s story inspired by their unique craziness!
Jennifer Ruth Sturt, Assistant Producer, Wales Millennium Centre
Thinking ahead to what 2018 has in store is at once terrifying and overwhelmingly exciting. This year is set to be full on, but hugely inspiring year for us at the Centre. With the launch of two new seasons of programmed work in the Weston Studio and ffresh alongside the return of our biannual international arts festival, Festival of Voice. This year, we’re creating a number of co-productions with some incredible Welsh artists and companies and I’m really proud to be part of the team helping to make them happen. As Cardiff embraces it’s title of Music City, the in-house Festival of Voice team have created a programme of work that really celebrates voice in all it’s guises and alongside an ambitious Creative Learning programme allows us to explore the positive impact of collective singing and creative expression. With just six months to go, I can’t wait for what this year’s festival has in store.
Personally, I’m looking forward to many more adventures in 2018 with plans to travel to New Zealand and Canada, see my best friend get married and all being well, get back out on the road and finally get a half marathon under my belt- fingers crossed.
Geinor Styles, Artistic Director, Theatr na nÓg
My cultural highlights would be anything Theatr na nÓg does – obvs… and also the things I am looking forward to seeing and then probably missing because I’ve double booked myself or completely forgotten they were on…
So if someone can remind me then that would be great…
Then the show I will definitely want to see before it heads off to New York, because I missed it the first couple of times round is Grav, an amazing achievement for a theatre company in far west Wales – The Torch to get it to the stage in New York after sell out shows here in Wales and Edinburgh. Congratulations to the creative team for taking a true Welsh hero and exporting it far and wide.
Even though I hate overhyped shows, I must see Hamilton this year. I think the story is incredible and an important one to hear and see in this strange uncertain time. – even though he did the music to Moana!
I also hear that Fleetwood Mac are going to tour this year specially for my birthday, so be rude not to!
Adele Thomas, Director
The play I’m most looking forward to in 2018 is John by Annie Baker, in a new production at the National Theatre. Annie is probably our greatest living dramatist. She writes with a delicacy and a humanity that make Checkhov look positively cartoonish. Her plays The Flick and Circle Mirror Transformation are amongst my favourite evenings in the theatre, and James McDonald (who directed Circle Mirror Transformation) is directing John, which makes it doubly exciting. I can’t tell you anything about what the play’s about.
My New Years Resolution is “Avoid the Algorithm”. So much internet noise and being in the industry means that by the time you’ve read the endless marketing and faced the constant stream of twitter criticism you go into the theatre too equipped to watch the play. Imagine being in the first audience for Macbeth or The Cherry Orchard or Blasted or Machinal. You would be entering the auditorium with true openness. As an audience member you might be shocked or bored or moved to tears, but your experience would be an truly honest one, a direct and unadulterated relationship between you and the play. What a gorgeous idea
Sami Thorpe, co-founder Elbow Room Theatre Company and BSL Interpreter
Sami shares her thoughts in BSL in the video below
There is so much to look forward to in 2018. I cannot wait to see Jonny Cotsen’s ‘Louder is Not Always Clearer’, it’s so important to see diverse stories on the stage and, as someone who has been involved with the Deaf community for a number of years, I’m very excited by it. I’m also looking forward to the drag acts coming to Cardiff this year, especially Klub Kids’ ‘The Twisted Circus’, which I shall be fangirling all over!
My personal hope for 2018 is that as an industry we work together to continue to diversify our audiences, sharing ideas and good practice is key. Be brave, take risks, learn and grow.
Nickie Miles-Wildin, RTYDS, Resident Assistant Director, Manchester Royal Exchange Theatre
I’m sat at my desk at The Royal Exchange Theatre and there’s so much that I’m looking forward to this year. Being Resident Assistant Director in this amazing building is opening up many great opportunities for me. My highlights are Frankenstein directed by Matthew Xia. 200 years after its publication in January 2018 Matthew is directing a new version by April De Angelis – a writer whose work I enjoy. (Playhouse Creatures is brilliant) Being assistant director on this show I am already in the depths of research and know that the cast is going to truly bring the story to life on our stage.
I’m also looking forward to working with the Young Company up here on their production of Mix Tape. Working closely with Matt Hassall – Programme Leader for the Young Company and composer James Frewer, Manchester will be given its own mix tape.
In the summer I can’t wait to be my alter ego Beryl as I tour a handful of festivals with Bingo Lingo alongside my co-star Daryl and his alter ego Cyril. It’s Bingo on a Paralympic Scale. The Without Walls festivals are an absolute joy to be at and to discover new work.
For me 2018 will be one of exciting creative work indoors at the theatre and a summer of amazing interactive playful outdoor work.
And Deaf actor Nadia Nadarajah being part of the new ensemble company at the Globe. Hopefully we’ll see more Deaf and Disabled creatives leading the way.
Matthew Xia, Director
I’m really looking forward to making some work across England and Wales this year. I’m starting with Dublin Carol – the Conor McPherson play about an alcoholic Undertaker being confronted with the life he has lived, and the others he has broken. It’s playing at Sherman Theatre in Cardiff from the 5th of February for two weeks. I then head up to the Manchester Royal Exchange to make a brand new Frankenstein adapted for the stage by April de’Angelis before directing the premier of the Alfred Fagon Award winning play Shebeen by Nottingham writer Mufaro Makubika. The show, starring Karl Collins will be presented at the Nottingham Playhouse and Theatre Royal Stratford East in June.
Firstly, let’s get this straight. Yes, I love pop music, yes, I love Take That (seen them live 4 times), but no, this won’t be a biased piece.
So when the it came about that the BBC did the show “Let it Shine” to discover the next big boy band for a musical I was curious to see what or how it would all turn out. The band that was created, in probably not too dissimilar a way to Take That (without Saturday night telly) was Five to Five. At the start, people weren’t too sure how this musical would pan out – would it be the story of Take That – or something like Never Forget the other Take That musical – which by the way, premiered at Wales Millennium Centre in 2007!
Actually, it was neither – It’s Manchester in 1992 and its based around five 16-year-old girls for who ‘the band’ is everything. They then reunite 25 years later, and you see how life has taken each girl down a different road.
Written by Tim Firth – who also penned Calendar Girls The musical with a certain Gary Barlow, it’s story is nostalgic and funny. You can’t call it a Jukebox Musical like so many of its type before. It has the same feel as Mamma Mia – the songs you’ll know, but the arrangements can be quite different. The nostalgia you feel could easily equate to how your own life has panned out in the last twenty-eight years. There’s a warmth to each character, and something familiar that feels real.
Production wise it’s brilliant. From the Ceefax screen at the start (How many bands did you get in the word search?), to the aircraft taking off, there’s something new you may never have seen in a touring production before – so much so, there was a technical hitch during the performance that delayed things by about 10 minutes. In all the times, I’ve been theatre going I’ve only seen this happen once before, and it’s a bit of a pain, but sometimes technology is a bugger – and as they say, the show must go on – which it did!
As “The Band”, Five to Five’s performances were good especially the harmonies. They maybe a band created for this production, but afterwards, who knows what the future holds.
Going back to what I said about the warmth in each character, each performance was flawless for both the old versions and young counterparts of each character – just might be possible though for Andy Williams as Dave to have stolen the show with his little moments at several points, and Rachel Lumberg’s performance as Rachel – there was something quite special about that too.
Now, if you do go and see this, which I will heartily recommend, don’t expect what we had at the encore – an actual Take That performance. Mark, Jason and Gary all on stage performing Hold up a Light (one of my favourite TT tunes!) together with the entire company. It made the first night in Cardiff that extra bit special.
Now I could be a little bit cheesy and include some Take That song titles in recommending this musical, but you’d wait for life for that. Okay Babe, are you happy now I found heaven? I might just end up all night, and then never forget to do this review pray-sing The Band. You do what you like, I’d love to hold up a light and come back for good to see this again! Patience, then you’ll rule the world.
Having never been a fan of Take That, or indeed boy bands in general, I was a little apprehensive as to what lay in store when entering the Wales Millennium Centre for the opening night of ‘The Band’.
The night was memorable and the performance totally unmissable!
For the first time in Cardiff, this wonderful new musical by Tim Firth hit all the right notes and pushed more emotional buttons than the audience could possibly have prepared themselves for.
A delightful mix of dialogue and song, the story follows teenage friends, Rachel, Heather, Debbie, Claire and Zoe, as they share their love of music and the same boy band.
The girls are full of life, funny with a deep friendship that binds them together. They share their inner most thoughts and aspirations. Rachel declaring that she wants to marry all the members of the band and Debbie agreeing to be her bridesmaid.
Debbie wins tickets to a concert in Manchester and the girls set off on their big adventure seeing the band, missing the last train home and having to make it part way home on the bus.
This musical is a coming of age story that every teenager has experienced even if musical tastes do change you never forget your teenage loves.
The two greatest sensory markers in our lives are music and smell, they have the ability to transport us instantly to another time and place whilst bringing to the forefront our greatest and most precious memories.
Move on 25 years and Rachel has moved away and the girls have all lost touch. Then Rachel wins a radio competition for tickets to see the band at a concert in Prague and the only thing on her mind is getting the girls back together.
Having made contact the girls (now 41yrs old) meet at the airport and fly out togther on another adventure. Their experiences and revelations in Prague serve to cement their friendship and to change their lives again.
The soundtrack of the girls lives are the songs of Take That, they punctuate the story in a way that gives it depth and meaning.
Five to Five, the boy band chosen through the talent show ‘Let it Shine’ gave an inspiring performance by almost being in the background. There is no doubt of their musical talent and the vocals were seamless and outstanding.
All credit goes to the Creative Team, too numerous to mention individually, who staged and produced this remarkable new musical, one that I am sure will endure for many years to come.
The stage craft of every cast member drew us ever closer to the action. We laughed, we cheered, we shouted, we sang, and some of us even cried.
At the end of the performance the entire auditorium was on their feet, waving lit mobile phones and generally going wild. I can honestly say that this was an experience like no other and despite myself, like everyone around me I just wanted more.
THE BAND plays at Wales Millennium Centre;
Tuesday 9 until Saturday 20 January
For further details about the show visit www.wmc.org.uk or to book tickets call the Box Office on 02920636464
Hi Angharad and Beatbox Tangent great to meet you both , can you give our readers some background information on yourselves please?
Angharad: Hi I am a theatre director, educator, facilitator and lecturer. I studied and worked as a performer before turning my hand to directing. I have worked for many organisations throughout Wales, but am now a freelance director and Artistic Director of Leeway Productions. I am also a mam and the proud owner of cuddles the cat. I love Women’s rugby and until I broke my ankle a few months ago was scrum half for Merched Clwb Rygbi Cymru Caerdydd.
Hi I am Beatbox Tangent I am a beatboxer from the UK, I currently live in Cardiff but I have performed gigs; workshops and collaborations all around Wales. My love of art and music inspires me to create compositions that take vocal percussion to extraordinary heights.
So what got you interested in performance and the arts?
Angharad : I have always been actively involved in the performing arts since the age of 10. I guess my Welsh language education was quite enabling as I was steeped in the traditions of the Eisteddfod and therefore had plenty of opportunities to perform so to speak. It was a toss up between sport and the arts though as I was a nifty rugby and hockey player, but am glad I choose this path.
Angharad in Hen Rebel Theatr Genedlaethol Cymru
Angharad, Beatbox Tangent has recently been involved in your 10 Minute Musicals initiative, can you please tell us more about this innovative project?
Angharad: 10 Minute Musicals is an innovative development programme to support musical theatre professional in Wales, with a particular focus on the writers and composers. Organised and delivered by Leeway Productions the development project 10 Minute Musicals is held three times a year at The Other Room in Cardiff and is also rolled out across the Regions as a part of our ‘Best of’ project.
We aspire to encourage and nurture new and existing creatives to write for musical theatre in Wales.International collaborations between artists is of huge importance to us. Over the next few months, we will be calling out to some more creatives who are keen to try their hand at writing a musical, and also, more established artists who may want to up skill and network with new creatives and artists. Creative participants can include composers, playwrights, librettists, poets, musician and lyricists.
10 Minute Musicals includes networking, development of current practice and examining and providing the support artists need when evolving, progressing and advancing their writing skills for this genre.
We encourage a continued conversation with creatives and believe that this creative development project is a great springboard towards casting a new light on how you usually work. Leeway Productions provide mentorship support throughout the process, and support artists as they find their way through what could seem like a daunting task. There is a sharing of your work at The Other Room as a culmination to the process and the participants’ hard work.
Thanks Angharad, as you mentioned 10 Minute Musicals has supported artists who wouldn’t think of writing for the musical theatre genre. Beatbox Tangent as you have mentioned you are a primarily a beat boxer do you think you have developed new skills through the process of being involved in 10 Minute Musicals?
Beatbox Tangent: I think I have to be honest. Collaboration is always an integral part of pushing your practice, so doing different activities and working creatively, especially with my partner on the project Rufus Mufasa has really pushed me as an artist and I’ve explored different avenues of creativity. Also, to break down those conventional barriers and really explore something new and using the Welsh language to do that has really opened my mind up to possibilities of language and music.
Musical Theatre as a form is rapidly developing and embracing new forms and styles. Musicals such as ‘In the Heights,’‘Hamilton’ and companies like ’20 Stories High’ are utilising a range of urban art forms in their work. Do you think this can bring new audiences to theatres which might be thought of as predominately white, middle classes cultural spaces?
Angharad: I don’t think we should burden artists with thinking about their audiences when we create work. I think that by activating all forms of culture to write for musical theatre, what willl happen is that the stories they want to tell will resonate with their communities, thus giving context and relevance to the work we create in Wales. We have a terrible habit in Wales of lifting existing models that work outside of our own communities and Country and imposing them onto our own landscapes. What this creates in a standardised approach to the arts. I am not personally interested in building mini London’s and mini England’s within our artistic infrastructure in Wales. We have a terrible obsession with critics outside of Wales, and 5 star reviews, but what about our audiences who are still terribly disenfranchised. So I guess the short answer to your question is, start with a story an artists wants to tell. Throw out all the pre existing models and build our own.
Beatbox Tangent: As an urban artist, I would say yes because the boundaries of Beat Boxing and vocal percussion are being pushed every day. Beatboxing has a very theatrical element to it. We have some great performers now, the likes of ‘Berry Wam’ from France who do all these covers of great commercial songs but some of them are classically trained, and you could easily take your whole family to see one of their shows. So yes, I believe it can pull new audiences in and ‘waw’ them. Beat Boxing is basically vocal percussion and what is musical theatre? It’s using the voice.
Get the Chance works to support a diverse range of members of the public to access cultural provision. Access for diverse citizens is a key priority for a range of arts funders and organisations Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists/creatives?
Beatbox Tangent: We are living in a very interesting time. We are living in a time where, how I like to describe it is a half light environment. We are living in the dark as well as the light when it comes to diversity and equality. We realise it’s important and relating this with music, and Welsh Culture, well…. actually, I believe the Earth is but one country and mankind is a citizen, so I believe I am a World citizen and although I have a nationality I belong to this earth. I think when it comes to arts and music it’s so important that you have that diversity. It’s like a man and a woman are two wings of the same bird and creativity doesn’t rise within one sex or culture. It’s a gift and as long as we have projects that bring different people together from every background I think we can create something so very beautiful and really expand Welsh Culture because we have so much to give.
Angharad: There are many, as there are barriers to a whole host of other provisions in Wales. I am currently working with D/deaf artists developing a musical and the infrastructure to support this kind of work is still very ambiguous and fragile. We have to work with artists who are deemed to have ‘protected characteristics’ (I hate buzz words by the way), in order to reach those diverse members of the public we seem to be forgetting about constantly. If the artists themselves are not represented then why would the audiences come and watch a story which is not relevant to them? Artists need more spaces at the heart of this cultural provision, within communities, to create work in order to reach out to a much more diverse audience. We are still so reliant on venues, and I believe this is a barrier in itself. There is such a drive for ‘excellence’ in the arts at the moment. Well, ‘rising tides raise all ships’ and I don’t know that giving so much focus to our venues helps with this little quote. I am such a believer in this quote and I am very concerned that the divide in this ever confusing world is growing and growing. The arts have a role to play here, because it is through storytelling we find truths and remind ourselves what humanity should look like.
There are a range of organisations supporting Welsh and Wales based artists and creatives, I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you?
Angharad ; This is a tough one to answer as it’s such a complex time for funding in particular in Wales.The word ‘career’ in the arts is a dangerous one, because unless you work within an organisation, I don’t know that there is such a thing. Is there? I know of established artists who are still only earning about £13k a year, having worked for years and years. I’m not sure how this is sustainable to be honest, especially when kids come along, so then you get a fall out, and once again it’s all about ’emerging artists’ because all the established artists have had to take other jobs in order to survive, a vicious circle. So at a time when artists are ready to create outstanding work, they just can’t afford to do it. I have no answer, but this is a reality. I think venues have a duty of care towards artists, and Welsh artists, because they are the lifeblood. Jut to add to this also, because funding has become so fragile we don’t seem to be taking risks on those artists who create work that splits audiences right down the middle. That explores the extremes. I would much rather hate or love a piece of work rather than just sit through another piece which panders to the status quo.
Beatbox Tangent: I would like the help to be more visible. More transparent. At the moment, it’s hard to find those organisations. But it’s a learning curve. There are so many schemes at the moment, especially within education, and it’s great for me as a looper, beatboxer to have those opportunities to share my practice within schools, I just wish I could find the opportunities much easier.
If you were able to fund an area of the arts in Wales what would this be and why?
Angharad: I would give 10-20 freelance artists a paid yearly salary and give them the flexibility and trust to self regulate the work they do within certain communities in Wales. Simple. No box ticking. I believe this could foster sincere change at grass roots and community level, because they would not be working towards prescribed objectives and would be able to shape shift and respond accordingly to what is in front of them. Artists like to make, I would give them absolute freedom to do just this.
I would also de-centralise our monster cultural epicentre in Cardiff, which consists of the Wales Millenium Centre, The Senedd, BBC Orchestra, Wales National Opera it goes on and on. What’s that all about? Lol. It feels like a case of ‘ all the great and good may reside here’, and I don’t believe that is healthy at all.
Beatbox Tangent: There are more and more different types of creative art forms all making a contribution to Welsh culture and society. This will only increase through social media. I always feel in Wales though that people are not empowered and empowerment is necessary for them to feel confident about their practice. More funding is needed from different organisations to help creative practioners, empower other creative practioners. Thats why the Creative Practioner training is vital as you are linking up with other artists. It gives different artists the change to make connections. I am a beat boxer I might meet a skate boarder how can we work together to create something awesome? The Welsh Government really needs to understand that no matter what happens in our economy if its Brexit or something else, I don’t want to get political but the arts need to be at the forefront of everything in our society, money can be stretched, I believe everything that we have in our society is because of the creative arts.
What excites you about the arts in Wales?
Angharad: We are in a privileged position that we can foster relationships and networks which can be cohesive because we are such a small Country. Artists excite me. I have been working as a Creative Agent for Arts Council Wales for three years now and the artists I have come across are breathtakingly beautiful. There are art forms I had never even heard of and a generation who are creating and nurturing new and innovative art forms for themselves. I love this.
What was the last really great thing that you experienced that you would like to share with our readers?
Beat Box Tangent : The UK Beatbox Championships were incredible! Foe me personally getting the chance to work with Angharad on the 10 Minute Musical performances have been amazing. I am interested in pushing the boundaries in Beatboxing in Wales.
Angharad: I took my 10 year old daughter to see Slava’s Snow Storm at the WMC. A poetic, visual piece of brilliance when it comes to story telling. My daughter turned to me 10 minutes in and said ‘Mam, there are no words’. I explained that communication is not about words. It is about a visceral tempo rhythm one finds within the piece they watch. That communication begins with a buy in to a moment. She was confused. She kept watching. She came out and she cried. I asked her what was wrong. She said, ‘I don’t know. I just feel really sad’. That’s my kind of theatre. It hit her in a space and place she could not articulate.
Cameron Mackintosh’s acclaimed new production of Boublil and Schönberg’s legendary musical Miss Saigon – a recent smash hit in London’s West End – is now embarking on a major UK tour, and has stopped off in Wales Millennium Centre for their annual Festive offering.
Previous Festive shows include The Lion King, Phantom of the Opera and Mary Poppins, and this year they bring the winner of a record-breaking nine Whatsonstage Awards 2015 including Best Show.
From the same partnership that brought Les Misérables, brings this epic love story that tells the tragic tale of young bar girl Kim, orphaned by war, who falls in love with an American GI called Chris – but their lives are torn apart by the fall of Saigon.
For the sheer spectacle, this production needs to be seen. For the lighting, the sound and the effects are some I’ve rarely seen outside of London, you soon realise this is something special.
The cast brings such depth to the story, which without realising, the first twenty minutes feel so much shorter – such is setting the story up. Red Concepcion’s Engineer is brilliant – a slightly comedic but evil twist on a character – The American Dream brought the house down. It’s such a stand out moment.
Sooha Kim as Kim brings the vulnerability to the role, and with an amazing voice. Her duet with Ashley Gilmour (Chris) on The Last Night of the world, is another stand out moment.
Be warned, it’s not for younger people – the themes are quite adult, and there’s some swearing in the first 20 minutes – and it’s also dotted through the rest, but it’s not without reason.
For me being a little bit of a theatre techy, I spent most of the evening in awe at the sets, lights and sound. It’s one of the best I’ve seen in Cardiff. The helicopter scene is probably the most impressive piece of set and engineering I have ever seen on a stage! You find yourself completely immersed into the sights, emotion and sounds of the end of the Vietnam conflict. If musicals were football leagues, Miss Saigon would be Chelsea.
The word triumph is often used to describe musicals, and in this case, it’s spot on.
OMG Legally Blonde is back in town! Anthony Williams UK revival of the musical adaptation of the hit 2001 film, which starred Reese Witherspoon in the iconic role of Elle Woods, is back in a dazzling pink-hue production of frothy songs, fabulous sets and catchy dance routines. With more sparkle than one will find on Strictly Come Dancing, Legally Blonde The Musical, will brighten up the coldest and darkest of winter nights.
Based on the hit film it follows the perils of Elle Woods played by home-grown talent Lucie Jones, a cheer-leading sorority girl who ditches her air-head image to train as a lawyer at the prestigious Harvard School of Law in the hopes of winning back her preppy boyfriend, Warner Huntingdon III, played by Liam Doyle. Packing up her trusty pooch, Bruiser, and with the support of a new bunch of friends she quickly learns that one can be an intellect, have a heart, superior fashion sense all whilst battling against envy, pettiness and a sordid professor.
Lucie Jones is a perfect fit for the role, her beautiful voice and her ability to do the bend and snap to perfection brings the perky Elle Woods to life in all her pink glory. Whereas Liam Doyle who plays Warner Huntingdon III exceptionally well especially when singing Serious, where Elle is expecting to him to propose but ends up breaking up with her. However, Rita Simmonds (most well-know for playing Roxy Mitchell in EastEnders) is a true revelation with her beautiful singing and great characterisation of salon owner Paulette Bonafonté. Her ode to her character homeland with the song Ireland saw Simmonds balance comedy with genuine emotion perfectly all whilst doing a fabulous river dance. As for Bill Ward’s interpretation of the disgustingly slick Professor Callahan, he commends the stage with his presence and gets all the Panto boos, the highest accolade for any antagonist. It’s safe to say that the biggest cheers of the night and who drew the biggest smiles from the audience was the four legged cast comprising of Bruiser played by Bruisey Williams-Dood and Rufus played by a local star canine.
Legally Blonde The Musical is fun and fluffy, lifting the darkest of spirits and bringing them into Elle Woods’s fabulous bubble-gum pink world. It is light-hearted and delivers its fair share of touching moments all set against a backdrop of glitz, glamour and girl power.
Tour dates and ticket information can be found on Legally Blonde The Musical website.
If you’ve never heard of the 5th Marquess of Anglesey or Henry Cyril Paget – that’s exactly what his family intended to happen when they erased him from their family history by burning every photograph and possession relating to his life.
Based on true story, this completely original production pieces together the charred remains and distant memories of the 5th Marquess of Anglesey – a cross-dressing dandy who inherited the keys to the kingdom in Victorian Britain, but lived fast and died young.
At one time the richest man in Britain, he rejected the duties of his title to live an outrageously opulent and controversial life, putting on elaborate plays, building over the chapel on the family estate to build a theatre and tour Europe with his ‘Electric Butterfly Orchestra’ – with himself as the leading artist, of course.
This is a fabulously foppish flight of fancy that will have you belly laughing from lights up until lights down.
The Marquess of Anglesey was an unapologetic narcissist, who if born in more recent times would no doubt be the subject of a gaudy commercial deal, a magazine spread or a reality TV series. But although the production pokes fun at the story, it is never cruel.
How to Win Against History is a high-camp, high energy extravaganza, subverting the almost homoerotic goings on within public schools, the aristocracy and the Empire.
Starring Seiriol Davies who plays (or should I say ‘slays’) as Henry Paget, this show chasses, minces and shimmies its way through his back story, shining a light on the social awkwardness of Victorian times, the absurdity and pomposity of theatre and the sheer hilarity of being a square peg in a round hole.
Matthew Blake plays the part of Paget’s right hand man – the Victorian west end actor Alexander Keith and the pair have incredible chemistry and comic timing. Every movement, sigh and flick of the hand is played up and milked for laughs.
Imagine a show featuring Lawrence Llywelyn-Bowen’s lovechild on acid at Mardi Gras, mashed up with Monty Python, Downton Abbey and Ru Paul’s Drag Race. That wouldn’t even come close to how remarkable this is.
Despite the madcap silliness and outrageousness though, it’s a show with substance and heart. Seiriol Davies has created something quite heartfelt and poignant, the music and lyrics are sharp and clever and the incredible vocal performances of the trio on stage meander from genre to genre.
You really want Henry Paget to win and the way audiences are responding to this production shows that in the end – he has.
Some lights are too bright to ever be distinguished.
It’s quite fitting that just over 30 years since the redevelopment of the south of Cardiff began that Wales Millennium Centre presents Tiger Bay The Musical. Since 1987, what was the docks of Cardiff, and in particular, what was Tiger Bay, has changed dramatically, and this musical is a celebration of the diversity that is Cardiff now.
What’s it about? Set in 1900’s Cardiff, it follows a young woman’s determination to challenge society’s injustices, follow her heart and realise her dreams. Extreme poverty meets supreme wealth. Gangs of street children roam the docks. Coal is king. A revolution is brewing in the dark and restless world beneath the genteel surface of Cardiff’s Butetown. You could say there’s a level of current social commentary running through this.
The staging and sound are possibly the best I’ve ever seen at WMC, everything moved seamlessly on stage from one scene to another. The cast sound amazing, helped no doubt by the scoring of Daf James and the lyrics of Michael Williams, this production in association with Cape Town Opera has romance, drama, revenge, and some amazing ensemble pieces.
Back in 2011, I saw Noel Sullivan in We Will Rock You at the WMC. It was my first proper musical (that wasn’t on telly or in the cinema), and now six years later via some Dirty Rotten Scoundrels I see him again, and his voice has improved and matured. Hard to believe the same person sung an album track from Girl Thing that in turn went on to become the biggest song of 2001 (Trivia fans… that was of course Pure and Simple by Hearsay)
There is a tendency with some reviews to rave about everything – this might just end up being one of those. With talent such as John Owen Jones and Suzanne Packer, plus the aforementioned Mr Sullivan, it’s quite difficult to select a few stand out moments. Dom Hartley-Harris as Themba was just sublime. The emotion of his character was stunning to watch. But there’s no doubting tonight I saw two stars born.
Star number one is Vicki Bebb. The programme says she hails from a small village in South Wales. Well, let’s sort that out for starters. She’s from Cilfynydd, which is 3 miles outside of Pontypridd town centre. The same place that gave the world Sir Geraint Evans and Stuart Burrows – two amazing Welsh singers. Change that entry Wikipedia, there’s a third. Her name is Vicki Bebb, and going by tonight’s performance, the world is her oyster. I can say I was there the night I saw Vicki Bebb shine for the first time.
Star number two is Ruby Llewelyn who plays Ianto Louise Harvey also plays the role, but not tonight). She’s quite a little powerhouse of a vocalist and pretty much stole the show – even against John Owen Jones. In fairness the child cast were all brilliant, but for me, Louise is another one to watch for the future (once she’s gotten all her exams sorted first).
I am quite sad writing this review because it means my involvement in TBTM is now over. After blogging and talking about it for the best part of the last nine months, it’s time to say tara now – not goodbye, because I’m sure this little piece of Cardiff will travel and fly.
My advice is, if you like the likes of Oliver, Les Misérables, or even Wicked, you will love this. It’s a little piece of Cardiff past, with lot of the passion the city always had, and always will. Just imagine Les Miserables with a Kardiffian accent, and you’ll realise this is more than just a half tidy musical mind.
If like me, you know a little about music, and the history of the pop song, then you can think again. People often deride modern music for being manufactured, but even way back in the late 50’s and early 60’s, the charts to an extent were the creation of just a few song writing powerhouses. The likes of Lieber Stoller, Dozier Holland, Lennon & McCartney and Goffin King were all part of the fabric that made the early days of pop what they are today. And it’s the latter partnership of Goffin King that forms the basis of Beautiful, currently at Wales Millennium Centre till 4th November.
As the website explains further; BEAUTIFUL tells the inspiring true story of King’s remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history. Along the way, she wrote the soundtrack to a generation, with countless classics such as You Make Me Feel Like a Natural Woman, Take Good Care of my Baby, You’ve Got a Friend, So Far Away, It Might As Well Rain Until September, Up on the Roof, and Locomotion.
There were countless moments for me to go “oh, she wrote that”, plus there was the time during the interval watching people sing some of the songs to try and explain the song – always entertaining. For anyone wanting to become a song writer, to watch this is certainly an education that no college or book can give you. To see some of the back story behind some of pop’s greatest hits was always going to be a massive bonus for me being such a music geek.
The performance of Bronté Barbé as Carole is quite amazing. You can close your eyes and you’d think it was the real deal. To capture the essence of someone is not easy, but somehow you have the vulnerability and the depth of character – together with a voice that provides the full package that is Carole King.
Kane Oliver Parry as Gerry Goffin shows the weaknesses that Goffin had, but also his song writing and creative processes. Amy Ellen Richardson as Cynthia Weil, and Matthew Gonsalves as Barry Mann, show also how the competitive the 60s were in terms of song writing. But out of that creativity, came friendship – and two very genuine performances from both.
It’s a well-paced production. There aren’t any times you’d be sat wishing for the next part. Musicals can sometimes suffer from being a little bit long, but at just around 2 hours 30 with an interval, that can’t be said of Beautiful.
There’s won’t be many people this won’t appeal to. If you have a love of music from the 60’s, this is for you. If you love a well-crafted and performed musical, this is for you. And if you love a night out for ages from 8 to 80, this is certainly for you.
Three things we also learnt;
1 The Locomotion was sung by Carole King’s nanny
2 Neil Sedaka was her boyfriend in high school (thus his song Oh Carol is about her)
3 She wrote The Reason for Celine Dion in 1998