Theatr Genedlaethol Cymru is pleased to announce the full cast for the production Merched Caerdydd / Nos Sadwrn o Hyd which will tour Wales between 13 March and 13 April. Merched Caerdydd is a new work by Catrin Dafydd which was presented as a rehearsed reading of a work-in-progress to large audiences at the Cardiff National Eisteddfod in 2018, and Nos Sadwrn o Hyd is an adaptation by Roger Williams of his own popular play Saturday Night Forever. Two contemporary plays based in the capital city, by two of Wales’s most distinct voices.

The cast are Emmy Stonelake, Gwenllian Higginson and Hanna Jarman (Merched Caerdydd) and Sion Ifan (Nos Sadwrn o Hyd).

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Joining Emmy Stonelake, who took part in the rehearsed readings of Merched Caerdydd (Theatr Gen Creu yn y Steddfod), will be Gwenllian Higginson and Hanna Jarman. Gwenllian Higginson returns to Theatr Genedlaethol Cymru following previous appearances in Macbeth (2017), Yr Hwyaden Fach Hyll/The Ugly Duckling (in co-production with Sherman Theatre, 2014/15) and Dyled Eileen (2014). Gwenllian also appeared recently in Exodus (Motherlode Theatre). Hanna Jarman joins the company for the first time. Her recent theatre credits include Hud y Crochan Uwd/The Magic Porridge Pot by Sherman Theatre and she’ll be appearing soon in Merched Parchus on S4C which she co-wrote with Mari Beard.

Sion Ifan returns to play Lee in Nos Sadwrn o Hyd, following his widely acclaimed performance when the adaptation was first staged at the 2018 Cardiff National Eisteddfod. Sion has appeared on S4C in programmes including Byw Celwydd, Y Streic a Fi, Tir and Teulu and has performed with Theatr Genedlaethol Cymru in Pan Oedd y Byd yn Fach, Y Fenyw Ddaeth o’r Môr, and Tir Sir Gâr.

Mared Swain, Neontopia’s Artistic Director, directs Merched Caerdydd. Her recent directing credits include Tuck, A Good Clean Heart and Lovecraft (Not the Sex Shop in Cardiff). Her television credits include Storyline ProducerforGwaith Cartref. Aled Pedrick directs Nos Sadwrn o Hyd. Aled is best known as an actor on the popular series 35 Awr and Parch and he recently appeared in Sherman Theatre’s acclaimed production, Woof.Aled has also directed for Theatr Clwyd and Theatr Genedlaethol Cymru (Pan Oedd y Byd yn Fach, 2016).

These two one-hour-long plays will be presented as a double bill with a 20-minute interval. The production opens in Theatr Clwyd before touring throughout Wales, and the tour comes to an end in Cardiff with a series of performances at the Weston Studio as part of the Wales Millennium Centre’s Performances for the Curious season.

Tour details:

Theatr Clwyd, Mold: 13–15 March

Pontio, Bangor: 19 + 20 March

Canolfan Garth Olwg, Church Village: 22 March

Borough Theatre, Abergavenny: 25 March

Pontardawe Arts Centre: 26 March

Theatr Mwldan, Cardigan: 28 March

Aberystwyth Arts Centre: 29 + 30 March

Canolfan S4C Yr Egin, Carmarthen: 1 + 2 April

Galeri, Caernarfon: 4 + 5 April

Ffwrnes, Llanelli: 8 + 9 April

Weston Studio, Wales Millennium Centre, Cardiff: 10–13 April

Age guidance: 14+. Includes strong language

This is a Welsh language production. The Sibrwd app provides English-language access.

Details of the production

Two contemporary plays based in the capital city, by two of Wales’s most distinct voices.

Merched Caerdydd (Cardiff Girls) by Catrin Dafydd

Cardiff is home to Cariad, Liberty and Awen. Whilst they each tread a very different path in life, they have more in common than their city alone. Here are three young, bright, and perhaps unexpected women from contemporary Wales, each trying to make sense of their messy lives. They are women trying to come to terms with their pasts whilst navigating their futures. But will change be possible? Or has their fate already been sealed?

Nos Sadwrn o Hyd (Saturday Night Forever)by Roger Williams

Following a messy break-up, sound-tracked by Take That in a city centre nightclub, Lee goes looking for love and finds it. For a short while life is sweet, but after every Saturday night dawns the harsh reality of Sunday morning and, as Lee discovers, nothing lasts forever.

2018 was a very special year for Catrin Dafydd, who is a novelist, poet, radio presenter and a script writer for Pobol y Cwm (BBC Cymru Wales). She won the Crown at the Cardiff National Eisteddfod, very soon after winning the Fiction category in the Welsh Book of the Year Awards 2018 for her experimental novel Gwales. Merched Caerdydd was originally commissioned by the Literature and Drama Committee of the Cardiff National Eisteddfod and was developed and presented for the first time by Theatr Genedlaethol Cymru as a work-in-progress as part of the Theatr Gen Creu yn y Steddfod programme.

Nos Sadwrn o Hyd is a Welsh language adaptation by the playwright Roger Williams of his own popular play Saturday Night Forever. The original English version was well-received by audiences and reviewers alike. This adaptation was commissioned by the National Eisteddfod and Stonewall Cymru and was presented for the first time at this year’s Cardiff National Eisteddfod by OOMFF as part of the Mas ar y Maes programme – a new project arranged jointly between the Eisteddfod, Stonewall Cymru and the LGBTQ+ community. Roger Williams is an established writer in the world of Welsh drama, particularly for his popular television series such as Caerdydd andBang. Bang has won a number of notable awards, including the Bronze Medal at the New York International Television and Film Awards 2018 – Best Entertainment Programme (Crime Play). It also won the BAFTA Cymru/Wales Award 2018 for a Television Play. Roger’s work for the stage includes Tir Sir Gâr(Theatr Genedlaethol Cymru, 2013).

A Theatr Genedlaethol Cymru production in association with the National Eisteddfod of Wales, Mas ar y Maes, Stonewall Cymru and OOMFF, supported by Theatr Clwyd.

Director:

Mared Swain (Merched Caerdydd)

Aled Pedrick (Nos Sadwrn o Hyd)

Set and Costume Designer:

Heledd Rees

Lighting Designer:

Elanor Higgins

Sound Designer and Composer:

Dyfan Jones

(Sound design of Nos Sadwrn o Hyd based on an original design by Heddwyn Davies)Cast:

Theatr Genedlaethol Cymru is the Welsh-language national theatre of Wales. We create bold, ambitious, inclusive and memorable theatre experiences in the heart of our communities, at traditional theatre venues and unexpected locations across Wales and beyond.

Please note this is a paid for article

(5 / 5)

When I was first introduced to Shakespeare’s The Taming of the Shrew I found it amusing and, I think, quite romantic. Forgive me – I was 11, going on 12, and Baz Luhrmann’s Romeo and Juliet had recently convinced me that all Shakespeare was romantic!

The truth, as Jo Clifford’s reimagining shows us, is that there is no romance in Shrew.

It is a play within a play, within a play, and you are invited, as an audience, to join in with suspending your disbelief – you are asked to dream, along with the players, of a world where women are the higher power. This alone might put some readers off going – don’t let it. Despite the serious nature of the subject and the action, this production manages to be riotously funny as it explores a matriarchal Shakespearean landscape.

The design (Madeleine Girling), made up of a ring in the centre, voils that separate it from the audience when required, and mic stands and off-set piano all make it clear that this is a “show”; an arena of exploration, with on-stage music and sound effects provided by the cast (predominantly from Hannah Jarrett-Scott who plays a bawdy, arrogant Luciento, unapologetically brandishing an electric guitar like a weapon of lust). The players break character regularly to help explain what’s going on, and to help themselves work out who they are now, and next, and what exactly is happening; there is a lot of fun to be poked at the original in this way as it really does make you realise just how ridiculous the whole idea is.

Using a mix of composed and re-worked songs (such as the opening to Bloody Motherf***ing **shole by Martha Wainwright, ironically sung by Scarlett Brookes’s unnerving Petruchio), the hard-to-digest moments are broken up by musical interjections that the whole cast take part in, though Jarrett-Scott and Alexandria Riley (most often playing Tranio) take the lead in this.

I enjoyed every performance from each actor, whichever character or mode they happened to be playing at different times; I believed in them equally and, for me, it is a triumph that there were no “stand out” performances in this play challenging the absence of equality. It speaks to the quality of their chemistry and what must surely have been a furiously fun and raw rehearsal process. The direction (Michael Fentiman) adds layers of meaning to the reframed, pared down text, illuminating the darker elements including domestic abuse, manipulation and gas lighting. The whole production is carefully balanced in this way; the serious, uncomfortable moments offset by humour and spectacle which allows these subjects to be explored without the whole thing feeling dour and depressing. Instead, you come out with questions around power and identity and how far have we really come in creating an equal, fair society?

If you are interested in seeing something blazingly different, then I’d recommend spending a few bob on tickets to this sassy, sexy, piece of theatre. Just…think about who you take with you as the very faint-hearted might find it a little uncomfortable. Personally, for me that was the draw!

The Taming of the Shrew is a co-production between Sherman Theatre and Tron Theatre Company. Be amazed by it at Sherman Theatre, Cardiff until 16th March. Tickets £18 (standard). Check out the website for concessions.

I was `shook` by the talent UWTSD students presented in their main house production of ‘Earthquakes in London’ by Mike Bartlett! Excellently directed by Iona Hefin, assisted by Kiera Sikora. This piece had my glued to my seat!

This story is unfolded through 3 sisters, an estranged father and an unborn child! Tackling hard hitting, relevant themes including climate change, mental health and modern relationships! With three intertwining storylines this play has many characters to be portrayed making this a perfect and clever choice made by Hefin for the 3rd year Acting students to explore!

As you enter
the space you are instantly brought in to an exciting environment because the
set for this piece is incredible! The entire theatre is the centre of an earthquake!
With three platforms set up for action! Turning a traditional proscenium arch
space into reversed thrust production. With the use of projection throughout tying
this piece together. The design and production students working on this piece
have done exceptional work and are a credit to the production.

Being taken on such an epic journey is a challenge for any group of actors, and the acting students at UWTSD didn’t disappoint. With a cast of 23 working as one, no one dropped the ball. The energy is the room really kept my engaged and interested throughout. With some stand out performances from Emma Davis as Peter/Emily, Ryan Stead as Colin and Grace Hazel Nicholls as Jasmine (cast 2). This group of Acting students should be incredibly proud of the work they have produced.

This show
wouldn’t have been the epic production it was without Ioan Hefin. His passion
to tell this story was filtered throughout. Ioan is truly talented.

This production is one UWTSD should treasure.  

(5 / 5)

Little Echoes is a ninety minute play with no intermission, written by Tom Powell and directed by Stephen Bailey. The show was held at The Hope theatre in partnership with Beyond the Streets, a UK- based charity who partner with women on their journey out of sexual exploitation. With a strong belief that a life is possible beyond sexual exploitation, striving to prevent abuse in pursuit that all women will be safe from coercion, violence and control. Little Echoes took place in a small intimate space and consisted of three cast members; Maisie Preston as (Danielle), Ciara Pouncett as (June) and Michael DeVille as (Shajenthran).

I loved that the seating arrangement had the audience seated around the centre stage. Everyone experienced a different level of intensity depending on what angle you were watching from, however whichever angle you were sat, you were able to capture a significant instillation. The themes explored in this play were naivety, captivity, manipulation, sexual exploitation, deceit, resentment, regret, pain, infatuation and coercion.

This production was well directed. Whenever watching a production that has no intermission it’s vital to contain a multitude of emotionally compelling content that contains sensibility, action, relatable characters, climax, tension and credibility. Little Echoes incredibly migrated all those elements together, combining the essence of multi roleplaying and miniature props, subtle lighting and one dress change of Danielle getting into a grey tracksuit not long after witnessing two girls wearing the same outfit.

Very subtly after she’d seen that, Danielle’s admirer mentioned he’d like for her to get changed as her appearance could be a distraction, to then quickly correcting himself to being a distraction for him. Once Danielle changed her clothes, he commented ‘you look beautiful’ you could hear the negative connotation piercingly. Dannielle’s energy shifting prompted him to take advantage, stimulating her mind to emotionally distract her from the wider picture of what was really going on.

Danielle was brilliantly played by Maise Preston being an extremely relatable character, making her therefore very likeable. Her characteristics were funny, nerdy, naive, quirky, daring, young, wild and free; easily flattered, therefore drawn impulsively to a charming older man giving her attention, highlighting his successful music career and ongoing tours. Dannielle being head over heels and fuelled with lust, made her determined to impress a man she barley knew by pretending to be as into music as he was, hoping to secure a special place in his heart. It was emotionally devastating watching Dannielle repeatedly being taken advantage of, constantly seduced and caressed until she was able to mentally, physically and emotionally be convinced that she didn’t exist when she’d surprisingly open her eyes to find herself with the other girls in the room; recording her.

Every scene was suspenseful, every moment was sentimental and every action correlated to an incident that occurred later on in the play, making every aspect fundamental.  The stage was mainly softly spot lit, helping to make the intensity more surreal and impactful to watch.  All three actors complimented each other well, bringing high energy and temperament, changing accents and tone of voice to fit into different roles simultaneously.

It was impressing to see all three actors who’d been narrating and foretelling their own individual stories connect towards the end of the play. Towards the end you witness a torn unison of vulnerability, helplessness and victimisation. All three individuals were brutally hurt, attacked tragically in an artificial world that left division, confusion and a cliff hanger of the unknown. Little Echoes connectivity is profound and compelling. A well structured play that was extremely simplistic but yet fused with vitality and mental stimulation. Jumbo Pact with an imperative message that raised awareness to the severity of Sexual exploitation.

(5 / 5)

Rain Man is the inaugural production of The Classic Screen to Stage Theatre Company and follows a line of successful screen to stage productions from producer Bill Kenwright including A Few Good Men, The Shawshank Redemption and Twelve Angry Men. Previous performances have starred an array of critically acclaimed actors including Martin Shaw, Rob Lowe and Suranne Jones.

Most will know Rain Man as the Academy Award winning
movie starring Tom Cruise and Dustin Hoffman. Released in 1988, the film was
directed by Barry Levinson and written by Barry Morrow and Ronald Bass. Morrow
created the character of Raymond having met Kim Peek, who, although not autistic,
was born with an encephalode (a large blister on the back of his head). Kim’s
parents were told he should be in an institution, but they rejected this advice,
and, by the age of 18 months, Kim could memorise any book read to him only once.
He attained all high school requirements by age fourteen and had an encyclopedic
knowledge in a range of subjects, from History to Classical Music. However, Kim
couldn’t walk until he was four and had difficulty with tasks such as washing
and dressing.

Rain Man tells the story of self-centered car salesman Charlie
Babbitt (portrayed wonderfully by Chris Fountain who is the perfect mix of
arrogant yet somehow likeable). Charlie one day receives the news that his
estranged father has passed away and left him nothing but an old car and a
collection of rose bushes! Charlie later learns his father’s three-million-dollar
estate has been left to a mystery beneficiary. After a flurry of bad language,
sarcasm and rage, he unearths that the beneficiary is, in fact, a brother he
never knew he had; autistic savant Raymond.

The role of Raymond was
due to be played by Paul Nicholls (EastEnders,
Hustle, City Central). Unfortunately, the week before the production hit
the venue, it was advertised that, due to illness, Mr. Nicholls would be unable
to play the role at Theatr Clwyd. A disappointment to fans I’m sure, however,
Adam Lilley, who stepped into the role, most certainly doesn’t disappoint.
Lilley’s portrayal of Raymond is faultless throughout; he perfectly captures the
essence of the reality of high functioning autism and his delivery of Raymond’s
savant skills provide for many moments of humour contrasting with the sadness
of his situation. Not only does he deliver the dialogue with fantastic timing
and ease, his physical portrayal is so seemingly effortless and consistent.

The set design is
simple yet effective and makes great use of varying effects including back
drops, flying, trucks and easy to move furniture and props. During scene
changes we hear a fitting 80s soundtrack played on high volume; perhaps
purposeful, it creates with the audience a sense of hypersensitive hearing
often associated with autism.  The 80s
theme continues throughout with fabulous costumes harking back to the era and
plenty of neon lights and references to TV shows and celebrities of the decade.

Whether or not you are
aware of the movie, this production cannot be recommended highly enough, mainly
for its two male leads for whom it is wholly worth booking tickets. The cast
and the production are superb, but it is their stand out performances as two
unlikely brothers which set the stage, and the story, alight. Rain Man plays at Theatr Clwyd, Mold
until Saturday March 2^nd, 2019 and goes on to play at several venues
across the UK, finishing in Weston-Super-Mare between April 15^th and
April 20^th, 2019.

Theatr Clwyd, Mold

February 25^th-March 2^nd, 2019

Writer: Dan Gordon

Director: Jonathan O’Boyle

Designer: Morgan Large

Lighting Designer: Jack Weir

Sound Designer: Dan Samson

Cast includes Chris Fountain, Elizabeth Carter, Mairi
Barclay, Adam Lilley, Dominic Taylor, Joe Sellman Leava, Hannah Barker, Joshua
Diffley

Unfortunately, due to illness, Paul Nicholls is unable
to perform in Rain Man at Theatr Clwyd from February 25^th to March 2^nd,
2019. The role of Raymond Babbitt is played by Adam Lilley.

(4 / 5)

In my naivety and lack of French speech (despite learning it for quite the number of years), I spent most of the week in the run up to this review, completely mispronouncing it.

However, after this production, there is no mistaking the name of Tartuffe.

Tartuffe by Molière is a comical yet poignant play about the differences and priorities of the class system. Tartuffe is brought into a rich family, when the man of the house begins questioning life and everything underneath his roof. This affects his family and his general existence and we question who really is the villain of the piece.

Denis O’Hare, who plays Tartuffe himself is excellent. He is the quintessential homeless hippy yet never tries to be anything other than what the family members say he is. He is vibrant and hilarious and while we are geared to hate him, we kind of love him too.

He embodies this smelly and unhealthy man, and yet the way he is portrayed and allows himself to be portrayed to the point where we feel like we can smell, taste and feel everything he is.

The whole production is full of very well rehearsed and thought out moments of slapstick humour and action – it is fast paced and full to the brim with comedy that we are never uncomfortable or lacking a moment of interest in what is on stage. All the actors react and perform with complete perfection.

When we reach the end, our hilarity is cut short. We are suddenly reminded of the ‘moral story’ and things become dark and real. This echoes much of the writing at The Royal Court and feels like a shock change to the laughter we encountered previously.

For a very old play, Tartuffe is extremely poignant and has the great ability to hold us in comedy to then suddenly drop us into doom.

(2 / 5)

A night of one woman plays.

How could I resist my theatrical sisters and not see another solo show after another!

In Search of Applause features a struggling actress, a trained clown who falls into the comfortable and routine life of a relationship. She doesn’t really love him. He has money and they live an interesting lifestyle, but ultimately, he seemed kind.

Now with this premise, we expect some hard hitting shock to the system- is this about domestic abuse? Perhaps a Phoenix from the ashes moment? Unfortunately there is no such thing. And the hour or so feels unremarkable.

Maroussia Vladi, both the writer and actress of the piece is very good- don’t get me wrong. She has a presence to the stage; the narrative is interesting … but it felt unfinished.

If Vladi has indeed trained as a clown, this shows. And I don’t mean this necessarily negatively. She obviously has talent but some reactions and mime seemed a little too over the top and unnecessary – perhaps in a clowning piece it would have been perfect, but for this, it didn’t. I badly wanted to associate myself with her but I just couldn’t fight through the over-theatrical wall.

The moments she really broke down, let her guard lower for a moment- where the real anger and emotion lay was what I craved and while it was only a small amount over all and near the end, it was good and what we needed throughout.  

Vladi’s In Search of Applause is a nice piece of theatre – the idea is there, the talent is, but the two didn’t match quite enough for me to really enjoy it and feel a connection.