Category Archives: Theatre

Review The Importance of Being Earnest, Theatr Clwyd by Bethany Mcaulay


 out of 5 stars (4 / 5)
 
Rife with the daring wit and perceptive observation of society, gender dynamics, and identity, that is now considered to be quintessential of Wilde’s work. A humorous, yet equally astute, and sharp revival of a play that is arguably considered overly-produced, with energising dynamism.
Firstly, there is no ambiguity regarding the place of the actors and the audience – the fourth wall is suitably maintained – yet the almost Shakespearean quality of acting and mirthful spirit of the performers seems to allow for complete immersion within every aphorism that flies from their mouths; making the experience of witnessing this production not merely an observation of a collective group of actors, but an escape into the scintillating perspective and daringly droll world of Wilde.
Physically, most of the actors embody their respective characters with seemingly easily-attainable excellence. Backway and Jessup are impressively skilful in each gesture and movement, embodying precisely the fierce quick-witted physicality and attitudes of both Algernon and John respectively. Their mutual magnetism is established from the very start, and remains equally as alluring in the final scene.
Emma Denly plays Gwendolen with tremendous charm, and is consistently, and humorously, impassioned – making it very much impossible not to feel deeply enamoured of her immaculate characterisation. However, Robyn Cara’s portrayal of Cecily pales in comparison and, though certainly of an adequate standard, does not seem to fulfil the vibrant potential of the character.
Maclean’s interpretation of the ominous matriarch, Lady Bracknell, is formidably sinister – presented with such careful control and flawless superciliousness. Each syllable is pronounced with sharp diction; each movement is consumed by an almost satirical conceit. Though, nevertheless, her subtly, and occasional shines of humour are profoundly effective.
Atmospherically, the set, sound, and lighting are ingeniously suited to the performance, enhancing the environment with an aristocratic elegance and beauty, with subdued and comforting tones that allow not only for the actor to remain the primary focus of the performance, but to have their performances enhanced by the compelling replication of the grandeur of aristocratic Victorian England.
Ultimately, Richard Fitch’s production of ‘The Importance of Being Earnest’ frankly fulfils, if not supersedes, his already established acclaim through his directorial involvement in ‘Funny Girl’, ‘Urinetown’ and ‘Buried Child’, with an almost immaculate cast, and indisputable vigour from the moment the curtain rises, to the second it falls.

THE IMPORTANCE OF BEING EARNEST

Review The Importance of Being Ernest, Theatr Clwyd by Karis Alaina Clarke


 out of 5 stars (4 / 5)
 
I must confess my knowledge of “The Importance of Being Ernest” is limited to a handful of overused quotes about ladies’ diaries and a handbag. So on one hand I had the anticipation of the unexpected but on the other the uncertainty of the unknown.

From the second I took my seat I was no longer in The Antony Hopkins Theatre but transported back to Victorian times, the back drop giving the illusion of a period house, the set pieces minimal yet effective. Not a piece of furniture or prop wasted from the red leather sofa to the finely sliced cucumber sandwiches. As an additional trick to just drop you from your 21st century woes into the height of 19th century society no house lights dimmed and the entry of Nick Harris as the excellent if not scene stealing Merriman the Butler (and in later scenes Lane) was an unexpected start to the play. This instantly added to the feeling that I was just sat on the opposite sofa in the world of the play. This concept ran throughout, the cast all gave the impression they were at one point or another addressing the audience directly and letting us into their bizarre three act melodrama for the day.

The story as a whole was, on the surface a mild farce with a poor plot centred around identity, a name and relationships…. on the surface. The real brilliance of the play lies within it’s ironic undertones and satirical speeches poking fun at society, marriage, relationships the upper class – and much more. The actors were craftsmen in as such as they delivered outstanding performances of beautifully timed comedy, especially Matt Jessop as John, and James Backway as Algernon yet they never failed to let the undertones of what needed to be delivered get across. The relationship between the two actors on stage was a delight and one of the main reasons I found the play enjoyable. Their movements on stage were perfect, timed to dance like perfection. The end of Act II in the garden saw James Backway land a shot at Matt Jessop with a muffin that I doubt he can replicate again!!! But it wasn’t just the men who stole the show, not to be out done the ladies held their own and the bitchy banter between Gwen Fairfax (Emma Denly) and Cecily (Robyn Cara) was a master-class in delivery.

Of course the real star of the show is the writer Oscar Wilde this is without doubt his most famous play and understandably so. He writes of a world he was obviously part of and a world he was very sceptical of – we see in polite society, as it was called, that the higher up the social chain you were, the less polite one needed to be. Overall Victorian morals and views were different to todays, as a society we do not play by some of the rules in place some 100 years ago – however the majority of the play could be as relevant now as it was then and with a few tweaks this play would be a voice for today’s women, today’s illegitimate children, a voice against high society, it was in this area where I was at odds with the direction of the play as a whole. Although I found the set stunning, the garden with its 20ft plus high hedges even smelling of roses, personally I would have liked to see a modern take on the play. Yes, it’s important to keep tradition alive, yes the actors and the set and the director all did a fantastic job but Oscar Wilde was such a revolutionary writer, he was writing about topics in a way that were so ironic and so iconic that 100 years later we are still talking and quoting him and laughing at his plays…. Would he really want them played out in the same staid way? I can’t see that he would – I think he would be wanting directors to be using his words to incite the same outrage he did.

Despite my enjoyment of the production it was disappointing to watch the play in a half full theatre, in the main it was a sea of older audience members and I had to ask …. Is that because this is a traditional performance of what is viewed as an old play for an older audience who love Oscar Wilde? I hope not. This production has received excellent responses and I know the theatre is undergoing physical changes at the minute. I am excited to see the direction this takes but if it continues to stick to the same programme I feel it will continue to have the same type of audience I was part of on Saturday afternoon. I am not going grey (yet), not necessarily an Oscar Wilde fan but I found this production a total blast from start to finish. It felt slightly on the longer side as it had 3 acts as opposed to the usual 2, however when you consider the extravagant set and the time it would take to get in and out of a bustle I am not surprised but it was worth the wait.

Overall I would definitely recommend this for all audiences no matter what colour your hair! 4 stars out of 5

Review by Karis Alaina Clarke

Review National Theatre Live: Who’s Afraid of Virginia Woolf? by Danielle O’Shea


 out of 5 stars (5 / 5)
It is difficult to say exactly what “Who’s Afraid of Virginia Woolf?” is about and that was exactly what its writer, Edward Albee, intended. Some may say it is about marriage but it tackles so much more than that including topics like politics, morality and the human condition. However, what is at the heart of the play is truth and illusion.

The play moves from illusion to truth and as the audience progresses deeper and deeper into the stories we begin to realise what is going on behind the idyllic illusion presented by each of the couples. Even today this portrayal resonates with modern audiences due to the importance placed on appearance and what we should and shouldn’t know about one another. Of course, all these boundaries fall away and soon we are left with an overwhelming tension between the characters whether this be due to anger, betrayal or desire. The claustrophobic use of the living room – the sole setting – only emphasises the isolation and confinement of each character.
Although all four cast members gave stunning performances, the audience can’t help but be drawn to Imelda Staunton as Martha, a bullying wife hiding her fragile mental state, and Conleth Hill as George, the bitter husband burdened by his failures. You cannot take your eyes of this pair whether it be during the hide-behind-your-hands low blows of their arguments or the unusual calmer moments that still wreak of hostility.
As a whole, “Who’s Afraid of Virginia Woolf?” is a classic play which resonates with all audience members because, as said in one of the pre-show interviews, what is special about this play is that it has no strict description but instead is about whatever the audience take from it. An intense performance and beautifully crafted set propels this high tension drama into nerves-inducing brilliance.
National Theatre Live: Who’s Afraid of Virginia Woolf?
Gwyn Hall, Neath
May 19th 2017
Running time: 3 hrs
Author: Edward Albee
Director: James MacDonald
Design: Tom Pye (Designer), Charles Balfour (Lighting), Adam Cork (Sound and Music), Carole Hancock (Hair, Wigs and Make-up), Amy Ball (Casting), John Haidar (Assistant Director), Bret Yount (Fights), Penny Dyer (Dialect/ Voice), Imogen Knight (Choreography).
Cast: Imelda Staunton, Conleth Hill, Imogen Poots, Luke Treadaway

Review Tell Me Anything, On The Run, The Bike Shed Theatre by Hannah Goslin

Image result for on the run theatre tell me anything
 
 out of 5 stars (4 / 5)
 
A simplistic staging – we are greeted with a blank space, the floor filled with cylindrical tubes and in the corner, a dolphin.
Immediately this is comical and  theme of comedy runs through this clever piece to counteract the raw topic. Tell Me Anything is the theatrical adaptation of David’s teenage years with his first love, who happens to have an eating disorder. This takes over their love and their relationship, as we see his side of the story. This is a new take on such a topic, seeing it through the eyes of a loved one, without the character whose disorder it is. David makes it very clear that his development of the piece isn’t without his former girlfriend, and now friend, Kate’s input and knowledge of the piece.
With mostly a true narrative, excerpts from his diary, emails and memories, it’s hard not to feel warmth in the piece and the love he had at the age of 15. Unfortunately the only thing with this is that is feels a little fairy tale; the ‘true love’ tales of conversations, feelings and interactions seem so blissful that at times it’s hard to really believe such things; the performance then feeling a little fantasy like – or maybe that is just the cynic in me talking?
David interacts with us constantly – his narration directed to us, involving us by asking us questions and also asking us to close our eyes and put ourselves in his shoes – this feels intimate and struck a chord with myself as being asked to envisage someone we love just as he describes his love for Kate, bringing up personal feelings of loss, love and all the in between.
The lovey dovey nature, soon takes comical turns when he creates satires through his energy and vocal inflections to show the silly nature of 15 year olds. And then it gets dark – his anger, his hopelessness and his pain shines through, even 14 years later it is evident on his face and in his performance. A theme throughout is that it isn’t about him, it’s about her, but this shows exactly how invested he is in his story to show both sides, without the other participant.
The lighting is simple, and it changes to flicker when anxiety and anger rises. The tubes are like a minefield, or like ‘treading on egg shells’ as he manoeuvres himself through them– the more the story deteriorates and their relationship does, the tubes and their movement by David as less controlled and begin to fall. An interesting representation of control and descent of happiness. And of course, the dolphin. The representation of being the dolphin who gently helps and nudges those in need, is brought in as support, strapped to David’s back, and later, is let out of air and crumbles as David does.
Tell Me Anything is full of theatrical symbolism, heartfelt emotion and a real life and raw story. A piece of theatre that resonates with anyone who has tried, hopelessly, to help someone they love.
https://www.bikeshedtheatre.co.uk/shows/tell-me-anything/
 

Review Give Me Your Love, Ridiculusmus, The Bikeshed Theatre by Hannah Goslin

Image result for ridiculusmus give me your love
 
 out of 5 stars (4 / 5)
 
Back into the underground bunker of The Bikeshed Theatre, this week sees the company Ridiculusmus who have been bringing funny yet thought provoking theatre to venues such as Battersea Arts Centre, Soho Theatre, Barbican, National Theatre, Royal Court and The Arts House, Melbourne for around 20 years.
Artistic directors and performers of this piece Give Me Your Love, Jon Haynes and David Woods take a look at PTSD (Post Traumatic Stress Disorder) within a former soldier of the most recent of wars in Iraq, basing this in West Wales. They take a humorous look at this condition but filling it with strong metaphors which in balance work well to really make us think about the disorder.
The majority of the 1 hour show is mostly purely a conversation between Zach who is in a cardboard box, for his own safety (or so he believes) and his friend, Ieuan, and occasionally his wife Karen. With all of these characters, we never see their faces. Karen is in a different room shouting through the wall; Ieuan Is trying to get into the room through the chained door, his only presence represented by his speech and his hands/arms peeking through and of course our main character, Zach, is always in the box. This interesting take on theatre is brilliant and simplistic. It takes a lot within creation, writing and the skills of the performers to be able to bring such comedy, the issues and pure emotion to an audience without much physicality or facial expressions.

The narration is great; it is as if the characters are having a simple chat, going back to the issue at hand but occasionally having a moment of off topic interaction. Somehow this makes the unordinary visuals seem very naturalistic – with Welsh accents as well, are perfect and I guess with the sing song nature of the Welsh accent, adds to the humour.
Taking my parents, we later discussed how clever and important this piece of theatre is, and whether the performers themselves were Welsh as they seemed to be on point with Welsh humour. I do wonder whether some humour was lost a little on the audience as it did touch upon things that we agreed may be more comical to the Welsh or those familiar with Welsh culture and humour. Despite this, there was plenty of comedy and strong emotional moments that visibly effected the audience in obvious ways.
Give Me Your Love is such an important production to see – Zach is seen to say that he has put himself in the box – and while this is represented physically, it also has huge representation to how we see PTSD ourselves. How society coaxes suffers into this one box and not taking in that each person is human and different. If you do not get a chance to see this production, so many emotions and thoughts will be starved of its theatrical influence.
http://www.ridiculusmus.com
 

An interview with artist Kyle Legall


The Director of Get the Chance, Guy O’Donnell recently got the chance to chat to Kyle Legall. We discussed his career to date, theatre in Wales and his new production RATS (Rose Against the System) which plays at Wales Millennium Centre 02-03 June 2017.
https://www.wmc.org.uk/Productions/2017-2018/other/rats/?view=Standard
“Hi Kyle great to meet you, can you give our readers some background information on yourself please?”

Kyle Legall spray paints Planet Rock, Afrika Bambaataa and the Soul Sonic Force. T-shirt, Higher Graphics.


“I believe you are currently preparing for a new production at The Wales Millennium Centre called RATS (Rose Against The System). I wonder if you can tell us more?”

Kyle was inaugural artist of the year with National Theatre Wales. This information below is taken from Klyle’s blog post on the development process of RATS which was posted on the NTW Community.

Kyle with a RATS cast member

“I will be presenting a glimpse of my Rats project; Rose Against The System. This is an animation I have been working on over the last year. The rats of Butetown have got wise and decide to fight back. I am planning on showing how far I have gotten by trying out a performing version for the first instalment to see if it could work as a theatre piece as well as an animation.”


“I have involved local musicians and spoken word talents such as Wibidy and Weller from Degaba. Music score by Dafydd Ieaun, from ‘Catatonia’ and ‘Super Furry Animals’ performing with his new band ‘The Earth’ introducing a new talent I discovered whilst in Edinburgh Fringe, Sam Porter. Guest Voice by Rhys Ifans.”


http://community.nationaltheatrewales.org/profiles/blogs/higher-graphics-exhibition-1?xg_source=activity

A live trailer for an earlier version of RATS (Contains strong language)
Voices by Rhys Ifans, Weller, Wibidy, Sciddy, Sam Porter. Music by Dafydd Ieaun from Super Furry Animals


“What was the last really great thing that you experienced that you would like to share with our readers?”

“Many thanks for your time.”

Review The Importance of Being Earnest, Theatr Clwyd by Gareth Williams


 out of 5 stars (4.5 / 5)
There are certain smells that have the power to transport you to a certain place. Before the action had even started on the stage of the Anthony Hopkins theatre, I found myself standing in the middle of a bookshop, browsing the shelves and in my element. Clearly, the ingredients for the opening scene – consisting of an oak desk, antique tea trolley, red leather sofa and chipped wood wall panelling – had combined to create a most evocative scent. It was the perfect metaphor for my relationship with The Importance of Being Earnest. Suddenly, this play, which I had only previously encountered on paper, was coming to life right before my eyes, and in glorious detail too.

The costume department at Theatr Clwyd has once again excelled in creating the most exquisite outfits. The actors look positively fabulous, and the periodic detail is simply sublime. They capture the regal nature of the Victorian aristocracy perfectly: elegant, smart and, particularly in the case of Lady Bracknell, excessive. The Scenic Artists have clearly been inspired to compliment these gorgeous outfits with some spectacular scenery. In Act II especially, the Manor House garden is breathtaking. With huge green hedges and colourful flower beds, it is a wonder the stage is big enough to fit it all in. It is a real work of art, worthy of a horticultural (never mind theatrical) award.

Thankfully, this colourful production also contains some vibrant acting. It is not just the brilliance of Oscar Wilde’s script that is hugely affecting. The addition of physical expression means that the wit and wisdom contained within it are greatly enhanced. The humour is at times bitingly satirical, at times far more slapstick. Yet whether it is the mannerisms of Matt Jessup as John Worthing, the animated physicality of Nick Harris (Merriman), or the snobbish ignorance with which Hilary Maclean plays Lady Bracknell, this production certainly delivers on comedic value. It is infectiously enjoyable, in part from the fact that the entire cast seem to be taking such pleasure in performing Wilde’s work. They never seem to be overindulging in this opportunity though. They embody their characters brilliantly, and the strength of relationship between them is evident.

This seems a timeless play. One hundred years on, it still feels fresh. I still meet people today who care deeply about their public appearance, their social status and financial expression. It also feels like a timely political play too. One wonders, at least from media portrayals, whether today’s politicians aren’t the spitting image of Wilde’s characters. In both cases, director Richard Fitch has hit on something which makes this production enjoyably and humorously infectious. It is a beautiful production. A treat for the eyes, ears and (for me at least) the nose.

THE IMPORTANCE OF BEING EARNEST

Review Joseph and the Amazing Technicolour Dreamcoat by Jane Bissett


 out of 5 stars (4 / 5)
 
Joseph and the Amazing Technicolour Dreamcoat is a familiar story taken from the bible. It is the tale of a younger son, of a favoured wife, being elevated by his doting father and put above his eleven brothers. The brothers, already jealous of their younger brother finally are pushed to action and when their father Jacob gives Joseph the gift of a wonderful new coat and their outrage is complete. The brothers plot to kill Joseph and thus dispose of the problem. However, they fail to complete their plan as they cannot bring themselves to actually commit murder. The answer to this dilemma comes in the form of a travelling slave trader from Egypt and they decide to sell Joseph into slavery. On returning home the brothers tell their father, Jacob, that his beloved son has met with an accident and has been killed by a wild beast and they show him the bloody torn coat as evidence. Meanwhile Joseph has been sold into the household of an Egyptian noble where he works hard and becomes a trusted slave.
However, he catches the eye of the Noble’s wife and is soon accused of wrongdoing. His master has him thrown into prison from which there seems to be no escape. In prison Joseph becomes know for his gift of being able to know the meanings of dreams and this quickly comes to the notice of Pharaoh through his butler, a man who has first hand experience of Joseph’s ability. Joseph is summonsed to Pharaoh’s palace where he is given the task of explaining the meaning of Pharaoh’s dreams. Clearly nervous, Joseph tells Pharaoh what his recurring dream means. Egypt will have seven years of bumper harvests followed by years of famine. When the dream comes to pass Pharaoh places his trust in Joseph and puts him in high office and he becomes a trusted Egyptian. During the famine the people are starving and Joseph’s brothers come to Egypt to try to secure food for their family. The last person they expect to see is Joseph and at first they do not recognise him. Joseph doesn’t make the reunion easy but the family of brothers are eventually reconciled and reunited with Joseph’s parents, so there is a happy ending.

Joseph is a roller coaster ride for the theatre goer of any age. From the moment to curtain rises the production is a vibrant mix of colour and sound to stimulate the senses. From the pens of Tim Rice and Andrew Lloyd Webber, Joseph is a triumph. They have successfully taken a biblical tale and transformed it into a secular story that bridges the gaps of time and its message has as much meaning now as it had when it was written. Its appeal spans the generations and this was evident by the diversity of the audience what ever their age, gender or religious belief.

Joe McEdderry, gave a convincing and captivating performance as Joseph, his energy on stage is infectious and his smile and demeanour grabs the audience from curtain up right to the last number when he and the cast received a richly deserved standing ovation.

Henry Metcalfe’s choreography was creative and inspiring with many unexpected twists in the tale and lead us to expect the unexpected on several occasions. The costume design was creative and complimented the performances of the actors against a backdrop of scenery which was uncomplicated and did not distract from the telling of the story which in parts had distinctly modern twists and turns and some unexpected characterisations.

The Narrator, Lucy Kay, linked the scenes and lead the viewer on an unforgettable journey of characters, places and far away lands. With the added voices of the children it is a magical experience in which the audience is absorbed into playing an active role and ends in a well deserved standing ovation.
https://www.wmc.org.uk/Productions/2017-2018/DonaldGordonTheatre/Joseph17/