Category Archives: Theatre

Preview: CRAVE by Sarah Kane at The Other Room

As their showcase production of the Professional Pathways Programme at The Other Room, Yasmin and Samantha are presenting Crave by Sarah Kane, at The Other Room running between April 30th and May 11th 2019.

I met up with Director Samantha Jones, Producer Yasmin Williams and Assistant Director Nerida Bradley to chat about Crave, Sarah Kaneand the Professional Pathways Programme.

Why Crave? Why Sarah Kane? Why Now?

Being completely technical, for the Professional Pathways Programme I think this is exactly what we needed. There are no limitations, no rules, no guidance and that’s exactly what we needed from a script as a challenge and a gift.

When next are we going to get the opportunity to stage whatever we want with no limitations – Sarah Kane, obviously. It’s exactly the kind of work we’d like to see more of in Cardiff. The way it plays with form, but also what it says and what it means to people.

The Other Room opened with Sarah Kane and this play was an artistic turning point for her career. So, it just felt right, being the first Professional Pathways Programme at The Other Room and a turning point in our careers, to stage this play.

There are loads of reasons why this play is relevant now, but really what’s so great about Sarah Kane is that she’s so real she’ll always be relevant and so will Crave.

What does Sarah Kane mean to you as artists and people?

As an artist she’s bold and experimental. Her work is full of anger, but doesn’t fall into the trap of angst or the box people tried to put her in. She’s angry but it still feels feminine without the work needing to be about femininity. Just feminine through the way she uses language. Everything in the text is earned and the artists involved in her plays have to raise their game to her level.

As a person, she doesn’t make you feel judged, she just makes you feel and reflect. She can make you feel anything with her words. When I first read one of her plays, I had to read the others and read them all in one sitting. She’s just great.

What’s your aim with this piece?

Is it enough to say truth? Sarah Kane said, “I write the truth and it kills me,” so it’s important to stay true to that.

But also, Crave is written in a way that allows us to play and experiment. She was bold and experimental in writing this play, so we need to be the same in presenting it too.

It’s about what it means to be a human, the loneliness that comes with that, what love is, etc. We all have different perspectives and feelings in regard to this play, as I’m sure you will when you see it. Everyone will feel different things as the play is so true it relates to everyone individually. We want the audience to reflect and feel something about the themes, but more importantly about themselves.

Samantha Jones, director, speaking to actors.

Sam, considering how open the script is to a director’s interpretation, how are you approaching Crave as director?

Crave is a play that is always moving and changing as you work on it, so it’s more of a facilitation process, rather than direction and I wouldn’t have it any other way.

It’s key working with Nerida, not only as one of the best assistants around, but as someone who loves Sarah Kane and understands the text in a way that is different, but just as brilliant, to me. The whole team, including Yasmin and the actors, the same. The moment someone puts their stamp on Sarah Kane is the moment the it dies. So, everyone in the room has a voice.

Yas, with the everchanging, undefined nature of the script and production process, how are you approaching Crave as producer?

One of the great things about the Professional Pathways Programme is that this is the first full-show I’ve produced on my own, and I’ve been trusted to do so. The experience has sort of confirmed my theory that nobody really knows what a producer is and it’s an everchanging role in theatre. But given me confidence in knowing that’s okay. There is no set of rules for a producer as the job changes so much from show-to-show.

Part of what makes producing Crave so great, is that I have to be involved in the creative discussion to do the job. It might be easier to produce if things were more set in stone, but as the piece is constantly moving forward and growing I need to stay on my toes and get involved in the room. It’s very hands on and it needs to be as I have to stay connected, artistically, to the production.

How have you found the past year at The Other Room as part of their Professional Pathways Programme?

The Professional Pathways Programme has been a great way to step into the world of professional theatre making. Building new relationships, especially with each other as this year has just made us want to work with each other more in the future. Opportunities to work with new writing with things like SEEN and Spring Fringe Script, working with Royal Welsh College of Music and Drama have also been super beneficial.

Learning how a theatre building works and runs, beyond the shows, has probably been the biggest thing to learn. And now getting to work on whatever play we want, being able to produce it and put it on for a full-run is the perfect way to end the year. Overall, it’s been an invaluable experience for both of us.

Nerida, as you’re on arts placement at The Other Room and assistant director on Crave, how have you seen Yas and Sam grow over the last year?

They were always capable of doing this. But they’ve just had the chance to prove it. They’ve not just done the job but really added to the discussion and put their ideas forward. In particular they’ve absolutely smashed the year in transforming SEEN and working on Spring Fringe Script amongst other things. It’s just so great that they’ve been given the opportunity and platform to show what they can do as well as learn and move forward.

Actors rehearsing the script.

Crave runs at The Other Room in Cardiff between April 30th and May 11th 2019. Presented in collaboration with the Royal Welsh College of Music and Drama and The Other Room’s Professional Pathways Programme. You can read more about the production and the Professional Pathways Programme HERE.

Crave by Sarah Kane at The Other Room, Cardiff
30th April – 11th May 2019
Directed by Samantha Jones
Produced by Yasmin Williams
Starring:
C – Emily John
M – Johnna Watson
B – Benjamin McCann
A – Callum Howells
Assistant Directed by Nerida Bradley
Set Designed by Zoe Brennan and Mimi Donaldson
Sound Designed by Joshua Bowles
Lighting Designed by Ryan Joseph Stafford
Stage Managed by Millie McElhinney
Deputy Stage Managed by Emily Behague

Review Bully, Unsolicited Theatre, WMC By Rhys Payne

Bully was a one person play performed in Ffresh at the Wales Millennium Centre. It was written for Unsolicited Theatre by playwright Tom Wentworth.  This was a work in-progress reading which makes this play difficult to review. This play follows the story of Eddie a gay rugby player who becomes disabled during an accident. He becomes angry and frustrated and takes this out on the people closest to him.

The character of Eddie was played by an actor who was a wheelchair user and so this served as a visual reference that Eddie is disabled. Due to prior knowledge and experience this made the character justified in his anger as he was confined to his chair which was discussed heavily through the play. This production was raw, somewhat realist and very emotional. As this play was a work-in progress reading and had no staging and props (excluding the wheelchair itself) the focus should have been on the acting or performance of the play, instead it was focussed on the script and its story. But unlike Bump I seemed to focus on the page turning of the script. This script reading became very obvious as it was held by a metal arm attached to the wheelchair and sometimes appeared in front of the actors face. This took the focus off the actor and onto the paper script itself which was something I did not think should happen but understandable with it being a work in progress.

This play was told by a friendly and approachable character in a wheelchair. His mannerisms and speech patterns made me feel as if this character was somehow related to me. We have all experienced a uncle or family friend telling us a story about when they were young and doing silly things to try and warn us against it. As this story was about something that happened in the past it felt like one of these stories. On top of this the story contained many funny lines which made the audience chuckle which only added to the relatability of the character. The section of the play where Eddie discussed being in the crash and being in the hospital was very vivid and realistic. To the point where I could image myself experiencing the accident while the words were being said it created a clear imagine of the hospital in my head.

This production was a lot less moving and emotional than Bump which may have been to the actor moving across the stage, while this did allow for change of topics and a chance for the audience to understand what had happened and to add to the realism of the piece. At times it created unnecessary pauses and forced my attention to the captioning (where parts of speech were missed out and certain words were incorrect, which would have caused problems for people who needed them.) The thing that confused me most about this production was why was it called ‘Bully?’ On Unsolicited Theatres website it states the character becomes a bully while being disabled and them becomes bullied. I think this concept was missed in the production. The events at the end of the play are somewhat like a bully but I felt as if it appeared more as a loss of anger then something he would do respectively. But this may have been due to the fact I felt a connection to the actor and so unconsciously refused to accept him as a bully, which is a sign of good writing. Either way, Bully is a hard-hitting play that gives an insight into how it feels to become disabled which made for a very interesting watch.

Review Bump, Unsolicited Theatre, WMC by Rhys Payne

Bump was a one person play performed in Ffresh at the Wales Millennium Centre. It was written for Unsolicited Theatre by playwright Kelly Jones.  This was a work in-progress reading which makes this play difficult to review. As Kelly had the script in her hand while on stage this meant there was little (although there was some) acting or performance, instead it was focussed on the script and its story.

I can definitely see the potential in this script and a venue such as Ffresh worked and would work as a full production.  This production contained no props and very little staging (all they used were two chairs on the stage) this meant the focus would, eventually, just be on the character of Jo but due to this being a work in progress reading and the character not being fully realised .The focus was on the story. Despite this however, Kelly’s performance was amazing and she did ‘perform’ certain aspects of the script.

This play was unlike any play I have seen before. I must confess that I tend to not enjoy plays, just out of preference, but this reading was unique. This story follows the character of Jo from the modern day, back to fifteen years and then back to modern day again. The audience discover that Reggie had to drop out of school to look after her new-born nephew and deals with some very controversial and complex issues.  As the story was set in the past fifteen years, it was relatable. The story was also contemporary as it involved concepts such as Facebook, laptops and mobile phones. I felt as if this story was based on something that could have easily have happened recently. This meant the audience could easily empathise with Jo and relate to her hardships. The script was written to portray to the audience that Reggie had really experienced what had happened. At times the character would talk about things that were off topic, she would make jokes and experience things/emotions that everyone at one point or another had gone through. This all made the story and the character seem like a normal person and so made it relatable for the audience. The monologue of the character was spoken as if it was meant to be direct to each audience member. The actress playing Reggie,  forced eye contact to the audience and the script used conversational language which made everyone feel part of the story. As a result of this, the entire play was emotional and moving for everyone experiencing it.

This play covered some very controversial issues but did so in a respectful way. The character of Reggie was a lesbian but this was not the main focus of the story or a ‘big reveal’ set up in the play, instead it was a casual remark (she being female and saying she was dating another female) which is an important thing for modern theatre. This helps audiences become more aware of the the sexual preference of homosexuality and makes people who are part of the LGTBQ community feel more like everyone else and accepted in society, which can only be a positive thing. It also discussed the act of motherhood and how many people are not sure if they could look after a baby. Or what to do with a new baby which, while comical at times, would have put new mothers at ease and made them feel as if its not just themselves who are stressed and confused. The play also dealt with the role of family on someone’s upbringing from childhood even into adulthood and the important/effects of perspectives.

I would have to give a warning to people wanting to watch this play as it does contain a lot of swearing which many people may find uncomfortable. But also, as stated earlier, this play deals with many topics (acts of terrorism, homosexuality) which many people may not be comfortable with.  Due to this being a work on progress reading there is a limit on how well I can rate it as I’m rating it’s potential rather that the performance  I actually saw. It displays a grittier and real side of life through the medium of drama which avid theatre fans would enjoy.

Review Orpheus Descending by Tennessee Williams, Theatre Clwyd and Menier Chocolate Factory by Karis Alaina

 out of 5 stars (5 / 5)

Tamara Harvey  – hot off her Olivier award for Home I’m Darling’ could have played safe – and ran a nice little Ayckbourn – instead she plucked a little known Tennessee Williams play that was in the main considered a flop, set in a convenience store in the Deep South of America –  no doubt she could have had her West End and Broadway, Tony Award winning designer Jonathan Fensom create a replica 1950’s American store, instead it appears she asked him to design as little as they could get away with… this could look like an ‘A’ level workshop production – a set from what’s lying around – on the surface minimal direction and caricatured characters – and in principle that is what this is – but I mean that as an incredible compliment.

Some of the best work I have seen has been from peers in workshops. The actors are able to use the words, their skill and their craft and although the characters are caricatures these actors did not act them in this way.  By being basic, the set took no focus away from the actors – yet gave them enough to do on stage, the master piece of the design was the hues of the lighting by Tim Mascall and the use of smoke – which was only noticeable by it’s absence . Finally the lack of direction – I find two reasons for noting the lack of direction one because the actors look awkward or lost on set and direction is missing – or direction is lacking because it is perfect and you feel as though you have just watched characters as the author intended. There was no apparent direction present in this play, it was perfection.

It took me a good 10 minutes to acclimatise to the tone of the play – the accents (although spot on) took some adjusting too – and a lot of information was thrust upon you from the start – this is not a play you can attend – to just half watch and unwind at the end of a long day – it is not light relief – although peppered with humours moments – in the main it is an intense reflection into the complex nature of humanity….. or lack of….

We hear  about the owners of the store (Lady and Jabe)  through the brilliant gossipy narrative of  Belulah Binnings, the main form of the light relief comes from Catrin Aaron (previous TC production  –  Little Voice) – before we even meet the couple the past 15 years of their unhappy marriage is laid bare in 10 minutes and secrets that have been hidden are revealed to the audience hinting this play will not end well. This is a clever use of narrative instantly we take sides, and as an audience we are willing Lady to know the truth.

The first part is in the main tone setting – and it sizzles with the introduction of snake skin wearing, guitar playing Val – the beautiful Seth Numrich – who honestly if he had walked off set and asked me to run away with – I would have! He wooed every woman, possibly every man in the theatre – especially when he played his guitar and sang. His character I was unsure of except until the very end – he claimed to be on a journey to reform from his past – which kept coming to taunt him in the form of the flesh baring makeup wearing Carol Cutere ( Jemima Rooper)– who  created as much hysteria in a room as the local black man, as we learn during this production. The play had a large cast who all had an important role to play – no role was small – and all expertly executed. However the main hook of the play was the heat between Lady (Hattie Morahan) and Val (Numrich) they share a lot of stage time, long looks, desire and the occasion interruption from the phone or from above – leave every word dripping with sexual tension or hidden connotation to an unhappy past (on both parts) There is a delightful scene near the end of the second half when both are truly happy and the audience is lost in that moment with them which enables the audience to be as shocked by what happens next as the Lady and Val.

Do not come to watch this play if you are after a giggle with the girls and want to see the Full Monty – watch this play because you love theatre, because you want to know what clever set design is, because you want to know how a good actor can be a great actor. Come and watch this play if you like tension and drama  – if you are a theatre student of any description you need to see this play before it heads to the West End.

I have struggled with why the play wasn’t a hit when first produced –   but my knowledge of Williams is not strong enough to judge – however if I had to comment I think Carol (Roopers) Character could be the answer – addressing racism in 1950’s America was risky but a white women defending black men in 1950’s America was perhaps too big a pill to swallow . Thankfully Sami Ibrahim and Carys Lewis (TC’s residents in writing) have brought a forgotten gem back to life and the Williams play will finally get the credit it deserves.

A brutal insight to self righteous 1950’s slavery, intensely acted, perfectly directed and dripping with sexual tension.

Orpheus Descending plays at Theatr Clwyd, Mold from 15 April – 27 April 2019. It then plays at Menier Chocolate Factory, London from 9 May – 6 July.

Review Top Girls, Caryl Churchill, National Theatre by Hannah Goslin

 out of 5 stars (4 / 5)

Upon the National Theatre stage – a stage I only saw a short time ago transformed into a slanted living room, I now see a chic and expensive looking restaurant set.

Coming into celebrate, we meet a whole host of historical female figures – all with their own blood thirsty, unbelievable and hilarious stories, the cross over between the time set play in the 1980’s with much older eras makes this play instantly comical and poignant to the power of women.

In a time of the Me Too movement, and continued fight for equality, a play focussing on how extraordinary women have always been, the struggles the still face and the pressures we experience is not exactly new. But Churchill, having written this 1982, seems to have been way ahead of her time in writing a piece of theatre that we have only really been seeing develop across fringe and west end stages in the last few years. While at the time of Maggie Thatcher; a time where the glass ceiling began to break, we have still found ourselves continuing the fight till 2019. And so Top Girls feels even more inspiring to this day.

The performers, as expected at the NT are impeccable. A beautiful all female cast, not a single male is seen on stage and this emphasises the sheer power of the play.

The first half features these hammed up yet interesting characters – perhaps a little stereotyped – they cover a range of feminist topics that we were unaware that would be an issue in their era. They did try to cross over conversations, perhaps to make this seem more like a natural meal amongst friends than a staged one. I am not sure how much I felt it worked; it was a struggle to tell what each person was saying at different times.

The second half really brought up the sense of family, of growing up and a dysfunctional family and their relationship with one another and men. Again, the interactions were perfect and we felt real emotion in the scenes.

A play that could have easily aged badly, Top Girls is as important as ever – funny, clever and poignant, any female identifying as a feminist needs this play in their life.

Review The Bodyguard, Wales Millennium Centre by Rhys Payne

All images credit Paul Coltas

 out of 5 stars (4.5 / 5)

Before watching ‘The Bodyguard’, at Wales Millennium Centre, Cardiff I was very excited. The songs are many of my favourites and so I knew it would be an enjoyable performance, but this show did not disappoint. At first, I thought it would be similar to Motown in which the songs are great and popular, and people would sing along to, but the narrative is somewhat less important, but I could not have been more wrong. In fact, I would consider ‘The Bodyguard’ as one of the best all-round productions that I have seen. Having some of my ‘guilty pleasure’ songs included in this production was the icing on the cake.  The last time I saw Alexander Burke in a production was in ‘Sister Act,’ which I felt she didn’t suit but this powerful ballad-based character was a lot more suited to Alexander and her singing style.

The production’s opening was a striking shadow-projected scene, which had loud sound effects, which caused audible gasps from the audience. This was a fantastic way to grab audience attention in the first few minutes of the show. It was easy to spot that this scene would be book-ending the whole production and a similar scene would take place at the end of the show. This is the first time, in my experience, that this type of structure is used which made me keep the image in my head to see how the plot would lead to it again in the end. This meant the entire time I was thinking about this opening scene, which was not a distraction in any sense but would be considered an effective opening scene. The opening number however was flawless. The production values of staging, light and pyros was superb and the dancing was incredible. I don’t know if it was intentional, but I instantly drew comparisons of the character ‘Rachel Marron’ both are super successful artists, costumes show similarities to one another and the ‘performance’ of their songs (especially this one) were of the highest quality. However, I believe that this performance topped the Beyoncé performances I have seen live and this number could have easily been a show in itself. It would not have been out of place as a concert/performance in somewhere like the 02 Arena. The one small drawback to this number was, Alexander Burke, who played Rachel Marron, is an incredible singer and actor but her dancing is the weakest of the three (all of which are obviously of a high level but her dancing is not quite as good as the other two) which could be noticed through the big dance numbers such as this one and also during the opening number there was a short scene of dialogue which took place. Due to everything that was happening on the stage (lights, dancers, music etc.) I missed a lot of this dialogue which was clearly not what the directors would have wanted. The bold opening scene and awe-inspiring opening number contrasted each other perfectly and ‘set the scene’ for the rest of the production. This show alternates between these amazing, popular songs and tense dramatic scenes, which the opening sequences set up for the rest of the show beautifully.

Many of the supporting characters in this production were very relatable and believable which is important for productions like this. The young boy who plays Fetcher was an incredible dancer, which was shown in one of the dance rehearsals scenes towards the beginning of the musical. He was amazing and I would say upstaged some of the other dancers. They used the young boy to perform lifts and flips which obviously would have been easier due to the size of the actor. Although, during this scene the character crawled through a table which I believe did not quite fit the rest of the choreography, but this is a minor detail. This character would have primarily involved to provide an ‘awww’ factor as he is the young son of Rachel who gets caught up in the events of the stalker. This did build the sympathy toward Rachel and ‘hatred’ toward the stalker. The stalker (played by Phil Atkinson) was a key character although he is barely on the stage, even when he wasn’t on stage his presence could still be felt. When he was on stage when he is silent and is in almost darkness, which was an extremely effective way to build tension, and it is only in act two that he speaks. The whole presentation (including casting) of this character was perfect and this character-built fear from the audience. Although it was a bit strange that this character spent a lot the time without a top on.

One of the most enjoyable scenes in the whole show was a
karaoke scene not because of dramatic staging, of phenomenal singing or
whatever it was just a fun scene. It opened with three girls drunkenly singing ‘Where
Do Broken Hearts Go’ it was really funny and I felt like I have seen the same
scene in real life. A group of girls singing a popular song like that in
karaoke while ‘butchering’ the song, but the difference was in this show these
actresses were doing it intentionally. This seemed to be a common theme in this
production. Later in this scene, Frank Farmer, the bodyguard (played by Benoit Marechal)
goes onto karaoke to take on Whitney Houston’s ‘I Will Always Love You’ which I
have personally been tempted to do but never have had the guts to due to the
power of the song. However, Frank combated this by ‘talking’ the song, which
had the whole audience rolling in laughter. Which was really nice to see the
softer side of frank. This scene was ended by the iconic song ‘I Have Nothing’
which was beautifully sung by Alexander. Which was obviously sang to and about
Frank as we found out they have an attraction between the two of them.

The final scene of this act was in a club. It revolved
around Frank and Tony Scibeli, the security guard (played by Craig Berry)
protecting Rachel from any potential threats in the club. In this scene the spotlight
illuminates the stalker. This meant my eyes were following the stalker’s track
around the stage, which only added to the tension and drama. IThis scene looked
more like it took place in a nightclub due to the flashing lights and music
rather than a normal club but apart from this the scene was well staged and
executed.

The beginning of Act Two had a big dance number to the song
‘I’m Every Woman’, which is a song I know very well. The dancers in this scene
were excellent and the acrobatics were a spectacle to watch. However, at
certain points in the number there were movements that were supposed to be done
at the same time and were actually out of time with one another. But I really
enjoyed this opening, as its ‘over-the-top ness’ was a perfect way to regain
the excitement after the intermission. There was a few people in the audience
singing along with the music which I personally find great as it shows they are
enjoying the song etc., but I know some people are against this, so this is
worth noting.

In one scene the staging changed from a luxurious mansion to
a log cabin. I really liked the concept of the staging as a log cabin suggest
warmth and safety, which was exactly what it was supposed to do within the
story. The contrasts between these two setting also helped shift the focus from
Rachel and her fame/money etc. to family. This is added to be a heart-warming
rendition of ‘Jesus Loves Me’ between Nicky Marron, Rachel and Fletcher.
Fletcher however did struggle with this song as it is a complex rhythm and
strange vocals but as he was a child this was somewhat ignored. The lights and
effects were continued to be used to make the Stalker actually terrifying as he
appears from nowhere at points and disappears quickly after.

Probably the biggest and best number in the entire
production is the classic ‘I Will Always Love You.’ This song was kept right
until the end to act as an emotional tribute to everything that happened
throughout the narrative. As the earlier ‘rendition’ by Frank in karaoke, was
comical this final number was show stopping. The staging, costume and lights
worked perfectly to add to the emotional nature of the song and Alexander’s
vocals were outstanding. She did change some of the vocal trills from the original,
which were fantastic. During this song there was a montage projected onto the
stage of the Rachel and Frank and their story so far. I found this to be
somewhat distracting from the song and could have done without it, but the
montage was not a cheesy and unnecessary  it was heartfelt and emotional. After all this
happened the entire cast sung ‘I Wanna Dance with Somebody.’ This involved
solos from different members of the cast, including the Stalker (which was a
nice inclusion in my opinion), dance sequences and ‘party’ lighting. This was
when the audience were encouraged to sing and dance. The two songs (I Will Always
Love You and I Wanna Dance with Somebody) obviously contrasted each other and
helped cement the pairing of drama and fun.

This production was well thought out and planned. Everything from music, lighting, costumes to props used all worked perfectly together, which was really nice to watch. The production aspects of the show were fantastic and one of the best I have seen. Alexander Burke’s portrayal of the iconic role is on par with Whitney’s (which is high praise) and this a show not to miss.

Review Pepperland at the Wales Millennium Centre by Lois Arcari

Review of Pepperland at the Wales Millenium Centre by Lois Arcari

 out of 5 stars (2.5 / 5)

I was unsure of what to expect when I sat down to watch Mark Morris’ Pepperland at the Wales Millenium Centre. It’s practically criminal not to know and love the Beatles in at least some tangential way, or not to have one go to song to draw out as your favourite. But I wasn’t watching with the nostalgia of many of the audience who had been there the first time, who could see themselves in the chorus of screaming fans in the opening scenes. I’m also generally unfamiliar with the dance genre and haven’t watched professional dance shows in years. But I thought that the show would be the perfect splash of colour to brighten up characteristically unpredictable Easter behaviour.

The opening scene sealed my unease, with Ethan Iverson’s inventive score somewhat undermined by unearned hints of darkness. The theremin was a particular point of contention for this show. Personally, I adore this unconventional instrument, especially in the rightfully iconic Ed Wood theme. However, It’s an instrument best used sparingly.

When placed artfully in pieces like the ‘Penny Lane’ dance, it was unexpected but refreshing. However, there were moments where it threatened to drown the score and the audience with it, through no fault of the talented performer. The show seemed to have that sort of tone problem throughout. While sombre notes in the orchestration sometimes clashed welcomely with the candy cane cheer of the costumes, more often than not they felt misplaced and unearnt in regards to the dancers, who were performing – wonderfully as always throughout the production – dances that didn’t meet the new tone to the music.

Again, when it worked it worked, but there were only brief flashes where it did. Some of the transitional dances were overly repetitive, but the technical prowess of the dancers can’t be faulted. Whatever the audience felt about the score or singing – and we’ll come to that later – the dancers had them all immediately onside, providing the audience with plenty of laughs alongside genuinely warm applause.

Despite their obvious prowess during the more cheerful numbers – especially my favorite of the set, ‘Penny Lane’, they were equally as impressive, if not more, when performing more tender and sombre scenes. The romantic dances especially were things of beauty. They represented a tender sixties fairytale where race, gender, sexuality and time meant nothing. Love and light were all, even when the lights dimmed and love faded. The show managed to give it’s very basic staging maximum impact. The ebbs and flows of lights and colour flexing to the music. Of particular note was the way that Iverson drew out the Beatles’ Indian influences to their most lavish conclusion.

The singer, however, was met with mixed reviews. Not doubting his vocal talents, he simply didn’t seem to fit the production. The dancers and their costumes indicated something more joyful which would take itself less seriously. The score was theatrical but often confused. Vocal talent and power alone can’t replicate charm, and the operatic style seemed like just another confusion added to the pile. The singer would have benefited from a show which approached its tone with more intent, or allowing himself some lapses in technical skill for raw emotion. In those brief moments where he did falter, his singing became much more powerful.

Perhaps the best way of summarising this show is ‘if you’re here for a beatles sing-along, that’s not going to happen.’ This mild, half unknowing derision of the audience suggests that this show has ambitions beyond its color palate, and has left fans outside of the review circuit – including my plus one – feeling rather cold, while it enjoys status as a critical darling. Still, the genuine love that emanates from the company’s every dance move – and the Beatles themselves as an evergreen subject matter – were enough to keep some lonely hearts more firmly on its side.

REVIEW: Five Green Bottles at Sherman Theatre by Gareth Ford-Elliott

 out of 5 stars (3 / 5)

Five Green Bottles by Joe Wiltshire-Smith debuted for the first time at the 2018 Cardiff Fringe Festival in the basement of Little Man Coffee Shop. After seeing it then, I remember saying, “this is the sort of work I’d expect at the Sherman.” And less than a year later, here we are.

It’s a strange experience watching this play for the second time. It relies so heavily on its audience not knowing the twists for its strengths, so for that reason I won’t be spoiling anything.

One thing that has changed is the ending, which is just as
frantic, but slightly clearer in a subtle way. This is the major improvement
along with the obvious production value that the Sherman’s excellent studio
space offers.

The direction from Becca Lidstone is particularly interesting as she adapts from a coffee shop basement with a small amount of tech to a world-class theatre space. The step-up in production value is obvious – but the content of what was initially presented isn’t lost.

It does seem darker and more sinister than before. I’m unsure
whether that is because I know what is coming and pick up on the small details
or if it’s an artistic choice, but it works.

One thing that is noticeable is the cutting-down of humour. The first time there were more laughs and that could be down to the intimate space of Little Man’s basement. However, it comes across much more mature as the humour is controlled perfectly by Lidstone and doesn’t dominate as much as before.

Becca does a great job of starting the play at face-value and
allowing the subtext do its work, bubbling under the surface to create a darker
tone.

The transitions are full of dance and music which contrasts nicely to the dark undertones and creates a feeling of the 60’s. At times, though, this feels a little out of place, particularly as the play progresses.

Aly Cruickshank’s performance is excellent. With a name like
his, and the accent he puts on, you would think he’s a Scottish native. His
performance really stands out as he presents himself as likeable but holds a manipulative
presence that makes him so hateable.

Angharad Berrow is also utterly brilliant. Her performance is
less sinister than Cruickshank’s and comes across really naturally. Berrow
handles her character with great detail and performs delicately with moments
presented as normal that are truly horrific in the context of the play.

Tobias Weatherburn’s performance is really understated, cold and transformative from the person he is off stage. In particular, the way he handles Dave’s insecurities and desperation for acceptance from other men is phenomenal.

Olivia Martin’s performance is interesting. Her character, Maureen, is snide and laid back. She mostly holds the same dynamic throughout, but the moment she switches is even more powerful for this.

The set from Ceci Calf is really nice and naturalistic, taking us into the 60’s with simplicity.

Garrin Clarke’s lighting design is great. The single light that shines through the window, as if it were the moon, is particularly lovely and the changing of colours is seamless, creating the perfect atmosphere for the moment.

The sound design from Nick Laws is also strong, the use of
music in the transitions set the scene and there seems to be a slight
distortion in said music as the play progresses which is subtly superb.

The script by Joe Wiltshire-Smith is meticulously plotted and
paced with great dialogue, moments of humour and a subtle, dark undertone.

None of the characters are supposed to be likeable, which is important and a good choice, but they do need redeeming or relatable qualities. Dave stands out and is instantly recognisable with clear insecurities which Aly Cruickshank’s character, ‘Neddy’, exploits. Dave’s shielding of himself provides a brilliant and bubbling conflict with ‘Neddy’.

Unfortunately, the same can’t be said for all of the
characters. This is where we come onto the main issues of the play. The
character of ‘Neddy’ and the purpose of the play.

Neddy’s process and mind are not explored enough, so whilst we see his manipulation of other characters mould slowly and sadistically, his actions by the end are not justified in his own twisted way. This leads to the ending falling somewhat flat and into the second issue.

Why has this piece been written? What does it offer its audience? What does it explore? It doesn’t offer clarity on the history, it doesn’t explore the issue nor the mindset of the characters and isn’t escapism. It’s not a character study and whilst it is well written, directed, acted and designed – after all is said and done there is no takeaway for the audience.

The conversations I had after the play ranged from talking
about the historical facts and questioning the purpose of the play. I’ve seen
technically worse plays that are much more ‘must-see’ because of what they
offer their audience.

Ultimately, this is an incredibly brave story that Joe Wiltshire-Smith has attempted to tackle for his first full-play. For Spilt Milk too. However, there just doesn’t seem to be a focus or point to the piece.

Some will disagree on this and say it doesn’t need a point or
to explore anything. But, that is what separates ‘good’ from ‘great’. A little
more focus and this could be an absolute stellar piece of theatre. As it is,
there’s just something missing.

Five Green Bottles is an enjoyable, brilliantly crafted piece of theatre only let down by a slight lack of purpose.

Five Green
Bottles
at the Sherman Theatre, Cardiff
9th – 13th April 2019
Written by Joe Wiltshire-Smith
Co-writer: Kirsty Phillips
Directed by Becca Lidstone
Starring:
Angharad Berrow
Aly Cruickshank
Olivia Martin
Tobias Weatherburn
Assistant Director: Joe Wiltshire-Smith
Producer: Tobias Weatherburn
Stage Manager: Hadley Taylor
Production Design: Ceci Calf
Sound Designer: Nick Laws
Lighting Designer: Garrin Clarke
Set Assistant: Aleks Carlyon
Technical Assistant: Theodore Hung

Review Awakening by National Dance Company Wales, Taliesin Arts Centre by Judi Hughes

Taliesin Arts Centre has always felt welcoming to me. I particularly enjoyed collecting my tickets from the box office and having a smooch around the shop and gallery. Sadly the gallery is no longer there and a smart little box office has been established on the upper level. My ticket on this occasion, along with a very useful programme, is handed to me by a representative of the company and I am made very welcome.

Programmes are very important to me as I like to know a bit of background on the company and its creatives, and what I am about to encounter. The programme for Awakening is well written, with just enough information about everything I need to know. A summary of each piece and a brief description, with an extra word from the choreographer gives me just enough of an insight of what I am about to see without giving the game away. We are told that Awakening intends to ‘offer audiences diverse perspectives on the world’. The selection of 3 pieces shown tonight do that and more. It begins with Tundra, an entertaining and relatively accessible work, leads us into the very clever Afterimage and brings us finally to Reveller’s Mass, an unexpected and wild collage of religious iconography. A complimentary programme of work that does what an internationally acclaimed dance company should do – please, excite and challenge perceptions.

The audience is very mixed in age range, Taliesin Arts Centre and National Dance Company Wales have done well in their development of audiences for dance. I understand that Awakening has done well across its tour. Observing the marketing which includes stunning images and great trailers as well as the dedication to outreach work, I can see why it has been such a success. I expect that the company’s reputation and the quality of the work has meant that word of mouth, always the best form of advertising, has had a lot to do with it too.

The first performance of the
evening, Tundra, is an excellent start to the evening. We are presented with a
red square, with a dark and somewhat foreboding image of a tall dancer, making
its first statement. We enter then a stage lit by 2 strip lights, the width of
the stage, which whilst stark in appearance often alter in their brightness.
The company of 7 dancers appear like Russian dolls, with patterned tops and
long a-line skirts performing what I understand to be the traditional Beryozka
dance, which just looks amazing; the dancers are so clever at this illusion of
floating I wonder whether they are wearing Heelys to glide around the stage.
The soundscape and subtle lighting design play their part here and throughout
the piece; I feel as if I am looking into a time tunnel, a sort of digitally
remastered version of these folk dancers, chained together and stuck in a time
warp. Echoes of Russian folk music, throat singing and sounds of natural
elements help to give a feel of otherworldliness captured in time.

Divested of their skirts, the
dancers are now fully adorned in fabulously patterned body suits, reflecting
the gaiety of folk costumes and with more contemporary colours, particularly
the striking ice blue. With white socks they look at once like ice skaters and
then like gymnasts; their precise, linked movements, performed in almost
perfect unison, along with the lighting continue to make them appear Tron-like,
as if they are trapped together in a computer memory. This is the thing I like
best about contemporary dance, that it can be interpreted by the viewer in
whatever way we want. Whilst the programme gives minimal instructions, there is
plenty of room for my imagination to take me on that journey.

The choreography of Tundra is joyful, with so much to draw on, even including head bobbling, taking the reach of the Russian state into Asian territory. The soundscape continues throughout from thunderous crashes to the echoing sound of a child singing. The choreography relies on patterns and format; there are imperfections with a foot placed differently and a kick not quite in line, but I am tending towards intentional imperfection here, almost like a glitch in the system. The focus moves from marching upright to legs and feet, where once again the costumes come into play. I always marvel at dancers’ feet and these white sock clad movements continue the fascination. I am not surprised that this is such a popular piece.

Afterimage – the mirror that constantly reveals – is mesmerising in a totally different way. Initially I believe the set is 2 tables, 1 behind the other with 1 male sat at each. An illusion, as the whole work is an illusion set to confuse and play with our visual perception. A letter is delivered to the rear table using the method of Pepper’s Ghost, described in the programme as an effect originally used in carnival sideshows to conjure ‘ghosts’ in séances. The piece continues with reality and ghosts intertwined; 6 dancers, male and female, perform effortless movement and develop relationships that engage the viewer as their eyes adjust to see the dancer, the reflection and the ghost in a mirror that is so clear it feels like you could reach through it. It is strangely enticing to see the opposite view of the dancers as they move in and out of vision. The story of the piece is based around the letter, eventually opened and read, leaving the viewer with questions as to its content. Did she die? She looks like she died. Did she leave? It feels quite sad. Whatever the story, the effect of the female dancer walking away with one of the tables is a powerful ending to a piece that provides mysterious fascination to its end. Altogether a technically clever piece, although I fear that once viewed, the spectacle is gone.

Revellers’ Mass is everything it
promises to be. As featured in the programme we are presented with a long thin
table, its width almost covers the stage. This is the centre-piece, the table
of the last supper, which eventually reveals that it holds the water and the
wine as the dancers splash in it and perform on it. Candles placed along the
‘table’ are lit as church bells ring; an atmosphere of calm is created as
people mill around. Strange looking broken mannequins with arms or bits
missing, reminiscent of Da Vinci statues, complete the set. The costumes of
black lace dresses worn by male and female in almost androgynous fashion look
Italian or Spanish. A piano plays in the background, and then music – loud, dramatic,
vocal, operatic enters the fray and the dance begins. It is a bizarre display,
at times pious and at its most dramatic, irreligious. I don’t try to understand
at this point, just to observe and enjoy, because the audience is silent and
rapt in this feast of extraordinary choreography. It is as if we can see the
Sodom and Gomorrah of the world behind the religious iconography. Dutiful
gestures are mixed with what appear to be acts of disobedience; the
choreography is untamed and appears to reflect different cultures and beliefs.
The mannequins are brought into play, one carried around as if it symbolises a
religious statue. A scene of wildness is created, with a central figure
carrying a broken mannequin that pours gold onto the stage and is followed by
an almost crawling figure that hankers after it as it spills from its guts. A
false finish then, which on reflection feels intentional, as the movement
stops, the lights lower and the audience begins its applause, which lasts for
some time until we realise that there is more. The priest-like figure comes to
the front of the stage and stands staring, whilst to the sounds of Piaf’s ‘Je
ne Regret Rien’, the stage is cleared of its detritus by the rest of the cast. When
we are sure that this is the end, the audience applauds loudly, showing their
appreciation of this fantastic piece, which reflects the mess of the world in
which we live.

A fabulous evening of dance, beautifully crafted, carefully performed and very well received.

Awakening is currently on tour and can be see at Aberystwyth Arts Centre 24th April, Sherman Theatre 1 and 2 May and Theatre Severn 7 May.

Frankenstein: How To Make A Monster, Battersea Arts Centre by Tanica Psalmist

The production Frankenstein: How to Make a Monster is triumphantly spectacular! featuring an abundance of sensory flows from different types of beatboxers’ who all ecstatically project an aura of an overwhelming system, which conveys power and pain. Compellingly taking our ears through motions as their voices effortlessly, vigorously exploit numerous of in-depth frequencies from low to high simultaneously. Several of the beatboxers fluidity hypnotised us through their radio waves, leaving memorisation as they mind-blowingly touched on elements affiliated with political, mental and emotional conflict.

The beatboxers collectively integrated upbeats. In beat we witnessed a fusion of music genres from their voices alone, whether it be House, Funk, Blues, Motown or Pop this crew had it down to the ‘T’. Their music chords impressively merged heavy deep drums, string instruments and much more.

https://youtu.be/2gr-dNO6M_0

Incorporating Mary Shelley’s original, which was reimagined with soundscapes, sonic trickery and songs. To the counts within their musical flow, their vocal chords went to the rhythms of 1,2,3,4 but automatically speeded up to their heartbeats chanting 2,4,6,8. This soon boomed to a higher frequency as they began harmonising, synchronising, fluctuating and exploiting various other musical genres. The energy in the space became immense, especially when the space effectively transitioned into the vibes of an electrifying gig. 

Frankenstein had six acts in this play, all playing to their individual strengths whether it be singers, rappers, poetic essences and of course beatboxers; Frankenstein had it all! This production visually moved brains, you could feel the creatives hearts race, pumping to the counts of 10, 20, 30, and 40. Their sounds enhanced colourful patterns of different worlds colliding; projecting cinematic sounds of life and power whilst they embraced an emotional energy, triggered by a world we all know so well, as we become witnesses to the power of monsters all around us, strengthened by voices empowering them. 

The light moods had sparkles, gloss and smoke, the colours resembled energy, fire and enjoyment. This factor helped increase vibrations of radio-waves as they got even deeper into how to make a monster. The artistic designs were radiating meaning you couldn’t help but glance with amazement! 

Overall, Frankenstein gives you high adrenaline. A breathtaking, unforgettable and exceptionally enjoyable production! A fantastic experience for all to see, featuring beat box battles, audience immersive orchestra and childrens participation! A must see meticulous show with a talented team, you will not be disappointed!

https://youtu.be/RvR2Ds7SzLo