Category Archives: Theatre

FAT FRIENDS THE MUSICAL

 out of 5 stars (4 / 5)

Fat Friends The Musical brings fun, laughter, hopes, dreams and a range of talented voices to the stage of the Wales Millennium Centre, Cardiff.

Originally written for the small screen, Fat Friends effortlessly transfers to a stage musical with a timeless story of love and romance, centered around the all consuming trials and tribulations of diet goals, body image and the search for true love.

Created by the talented Kay Mellor, the characters of Kelly, Kevin, Betty, Fergus, Lauren, Val, Paul and Alan are brought to life once more and this time with song.

All Mellor’s characters are larger than life in every way and the hilarious story-line is both engaging and true to life. Far too often people put their lives on hold whilst they try to achieve their goals in dealing with weight and body image. Mellor shows us that this is a fruitless exercise and that life is for the living and quite often what you seek is indeed right under your nose, you just have to open your eyes and look.

Nick Lloyd Webber’s original music score partnered with Mellor’s lyrics give the characters voices to match the entertaining story-line. The powerful vocal performances add to the larger than life characters feel so familiar.

Jodie Prenger gives a credible performance as Kelly and her energy on stage is breathtaking. Kelly’s intervention in her mother’s television interview is the funniest thing I think I have ever seen. All the things we would like to say and do but society and convention prevent us. “Let it go!” However, be aware there are always consequences as Kelly discovers.

Sam Bailey plays Kelly’s mother, Betty, a seasoned dieter and a long standing member of the slimming club. She is married to Fergus and is very much the mother figure of the group taking Alan in hand over his diet whilst his wife is away.

There is also a hillarious fantasy scene which brought the house down. Feel assured that this really is a musical where you felt that the cast are enjoying the experience as much as the audience.

Natalie Anderson and Jonathan Halliwell are delightful as they portray Slimming Club leader, Lauren and Vicar, Paul. It is hard to watch as they struggle to overcome their lack of confidence, self-esteem and awkwardness. Their duets are wonderful and their chemistry believable, nevertheless you can feel the audience willing them to take the next step forward without looking back despite their social and cultural differences.

The Set and Costume Design is by the awarding winning designer, Bretta Gerecke and is outstanding. Centered around a row of buildings the exterior and interior of the dress shop is realistic and charming. Nick Richings lighting design is a triumph both with the neon foreground on the buildings but also bringing them to life. The clever use of the lighting in the background on the sky-line added atmosphere for both day and night.

The whole cast, including the talented ensemble of wonderful voices, gave a high impact, fast moving and hillarious night.

During the closing number ‘Love who you are’ it didn’t take much encouragement from the cast to raise the audience to their feet to join them in celebrating this triumph of a musical.

This is a musical to see in the company of friends, large or small, young or old, married or single. You will enjoy a entertaining time packed with fun and laughter, a guaranteed night to remember.

An interview with Janet Aethwy, Director of Estron, Theatr Genedlaethol Cymru

Estron Rehearsals, Janet Aethwy (Cyfarwyddwr / Director). Images: Kirsten McTernan Photography & Design

Hi Janet, great to meet you. Can you give our readers some background information on yourself, please?

Hi Guy – I’m an actress and director. I can be seen sometimes on the Welsh soap opera Pobol y Cwm playing the role of a local detective. I’ve been acting for nearly forty years, but in the past five years I have turned to directing. I am a voice director for Welsh versions of animated series for S4C as well as a director for several one-person history plays for schools.

So what got you interested in Directing and the Arts?

In 2013 I attended a directing course with Elen Bowman of Living Pictures, which provided me with valuable tools and opportunities. I took part in several workshops ranging from Meisner and Frantic Assembly to writing sessions with Mike Bartlett and Sacha Wares. The creative process is integral to any vibrant society and developing the ideas of playwrights and staging their work enables me to contribute in that function.

A new initiative for Theatr Genedlaethol Cymru is Theatr Gen Creu which will support talent, develop theatre craft and offer unique opportunities to artists in Wales. One strand of this new initiative is support for new directors. Why do you feel this new initiative is important?

As a beneficiary of an innovative directing course myself, I fully endorse any support given to fledgling directors.

Ceri Elen (Han), Janet Aethwy (Cyfarwyddwr / Director). Images: Kirsten McTernan Photography & Design

Estron was previously brought to life in 2017 at the National Eisteddfod. Will this new production differ in any way?

As we have been given the opportunity to take the work around Wales, the production is not intrinsically different but it has evolved, developed and matured.

Playwright Hefin Robinson won the Drama Medal at the 2016 National Eisteddfod for Estron. As someone who has a personal relationship with this work, what do you think caught the judges’ eyes? 

Hefin’s writing is playful, imaginative and original. He confronts a difficult truth with a light, humorous touch. He deals with the subject of death and loss, but only as part of the continuum of life. His message is both positive and uplifting.

The production will have a BSL performance. Can you please tell us more about this, and why you feel it is an important part of your offer for audiences? 

Theatr Genedlaethol Cymru are committed to making their productions accessible, and providing a BSL performance is part of that commitment. They want their productions to reach as wide an audience as possible, and they seek to remove barriers that may prevent people from attending. They are working with industry specialists – Cathryn McShane as the BSL interpreter and Jonny Cotsen as their advisor – to ensure that the BSL performance meets the needs of the audience.

Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers to equality and diversity for either Welsh or Wales-based artists? 

We welcome the opportunity to extend our work to as broad an audience as possible. The theatre should reflect society in all its diversity.

If you were able to fund an area of the arts in Wales, what would this be and why?

I would like to see more funding for local musical/art/drama events in our communities. Supporting live events promotes small town businesses and engenders a sense of well-being to all those involved.

What excites you about the arts in Wales? 

The Welsh arts scene is an incubator for young talent as well as a stage for established and well-versed world class performers.

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

Recently, I thoroughly enjoyed watching Tudur Owen – a well-established comedian from Anglesey – at The Miners’ Theatre, Ammanford. I now hope that you will enjoy your visit to the same theatre to see Estron – directed by another Angleseyarian.

Many thanks for your time.

Estron is on tour 19 April – 19 May 2018 Y Daith / The Tour: Theatr y Glowyr, Rhydaman / Miners’ Theatre, Ammanford: 19 + 20.4.18 Canolfan Garth Olwg / Garth Olwg Centre: 24.4.18 Neuadd Dwyfor, Pwllheli: 26.4.18 Y Stiwt, Rhosllannerchrugog: 1.5.18 Theatr Bro Alaw, Bodedern: 3.5.18 Theatr Felinfach: 5.5.18 Pontio, Bangor: 8.5.18 Canolfan Morlan, Aberystwyth: 9.5.18 Neuadd Gymunedol Maenclochog Community Hall: 11.5.18 Ffwrnes, Llanelli: 12.5.18 Chapter, Caerdydd / Cardiff: 14-16.5.18 Canolfan y Celfyddydau Taliesin Arts Centre, Abertawe / Swansea: 17.5.18 Galeri, Caernarfon: 19.5.18

 

Cyfweliad gyda cyfarwyddwr Estron Janet Aethwy Theatr Genedlaethol Cymru

Ymarferion Estron, Janet Aethwy (Cyfarwyddwr / Director).  Kirsten McTernan Photography & Design.

Shwmai, Janet, mae’n dda cwrdd â chi. Allwch chi ddweud tipyn wrth ein darllenwyr am eich cefndir, os gwelwch chi’n dda?

Shwmai, Guy – dwi’n actor ac yn gyfarwyddwr sydd i’w gweld o bryd i’w gilydd ar yr opera sebon Pobol y Cwm, yn chwarae rhan ditectif lleol. Dwi wedi bod yn actio ers bron i ddeugain mlynedd, ond yn y bum mlynedd ddiwethaf dwi wedi troi at gyfarwyddo. Dwi’n gyfarwyddwr llais ar gyfresi animeiddiedig ar gyfer S4C ac yn gyfarwyddwr nifer o ddramâu un-person ar thema hanesyddol i’w perfformio mewn ysgolion.

Beth ysgogodd chi i gymryd diddordeb mewn Cyfarwyddo ac yn y Celfyddydau?

Yn 2013 cefais gyfle i fynd ar gwrs cyfarwyddo gydag Elen Bowman o’r cwmni Living Pictures, a rhoddodd hynny nifer o sgiliau a chyfleoedd gwerthfawr i mi. Cymerais ran mewn sawl gweithdy, yn amrywio o Meisner a Frantic Assembly i sesiynau sgrifennu gyda Mike Bartlett a Sacha Wares. Mae’r broses greadigol yn rhan annatod o unrhyw gymdeithas ffyniannus, ac mae datblygu sgiliau dramodwyr a llwyfannu eu gwaith yn fy ngalluogi i gyfrannu i’r swyddogaeth honno.

Un o gynlluniau newydd Theatr Genedlaethol Cymru yw Theatr Gen Creu, a fydd yn cefnogi talent, yn datblygu crefft y theatr, ac yn cynnig cyfleoedd unigryw i artistiaid yng Nghymru. Un elfen o’r fenter newydd hon yw darparu cefnogaeth i gyfarwyddwyr newydd. Pam, yn eich barn chi, mae’r fenter yn un bwysig?

Fel un sydd wedi cael budd fy hun o ddilyn cwrs arloesol ar gyfarwyddo, dwi’n llwyr gefnogi unrhyw gymorth sy’n cael ei roi i egin-gyfarwyddwyr.

Cafodd Estron ei llwyfannu’n wreiddiol yn Eisteddfod Genedlaethol 2017. Fydd y cynhyrchiad hwn yn wahanol mewn unrhyw ffordd?

Gan ein bod wedi cael y cyfle hwn i deithio’r gwaith o amgylch Cymru, dydi’r cynhyrchiad yn ei hanfod ddim yn wahanol, ond mae o wedi esblygu, datblygu ac aeddfedu.

Enillodd y dramodydd, Hefin Robinson, y Fedal Ddrama am Estron yn Eisteddfod Genedlaethol 2016. Fel rhywun a chanddi gysylltiad personol â’r gwaith hwn, beth yn eich barn chi oedd wedi apelio at y beirniaid?

Mae gwaith Hefin yn chwareus, yn llawn dychymyg, ac yn wreiddiol. Mae’n mynd i’r afael â gwirionedd anodd gyda chyffyrddiad ysgafn, doniol. Er ei fod yn delio â marwolaeth a cholled, mae’n gwneud hynny fel rhan o gontinwwm bywyd. Mae ei neges yn bositif ac yn ddyrchafol.

Ceri Elen (Han), Janet Aethwy (Cyfarwyddwr / Director). Kirsten McTernan Photography & Design

Bydd y cynhyrchiad yn cynnwys perfformiad mewn Iaith Arwyddion (BSL). Allwch chi ddweud rhagor wrthym am hyn, a pham eich bod o’r farn ei bod yn rhan bwysig o’r hyn rydych yn ei gynnig i gynulleidfaoedd? 

Mae Theatr Genedlaethol Cymru wedi ymrwymo i wneud eu cynyrchiadau’n hygyrch, ac mae darparu perfformiad BSL yn rhan o’r ymrwymiad hwnnw. Mae’r cwmni’n awyddus i sicrhau bod eu cynyrchiadau’n cyrraedd cynulleidfa mor eang â phosib, ac yn ceisio chwalu rhwystrau a allai atal pobl rhag mynychu. Maen nhw’n gweithio gydag arbenigwyr yn y maes – Cathryn McShane fel Dehonglydd Iaith Arwyddion Prydain (BSL) a Jonny Cotsen fel ymgynghorydd – i sicrhau bod y perfformiad arbennig hwn yn cwrdd ag anghenion y gynulleidfa.

Mae Get the Chance yn gweithio i gefnogi ystod eang o aelodau’r cyhoedd i’w galluogi i gael mynediad i ddarpariaeth ddiwylliannol. Ydych chi’n ymwybodol o unrhyw rwystrau i gydraddoldeb ac amrywiaeth sy’n bodoli yng nghyd-destun artistiaid Cymreig neu rai sydd wedi’u lleoli yng Nghymru? 

Rydyn ni’n croesawu’r cyfle i ymestyn ein gwaith i gynulleidfa mor eang ag sy’n bosib. Dylai’r theatr adlewyrchu cymdeithas yn ei holl amrywiaeth.

Pe byddech chi’n gallu ariannu un maes celfyddydol yng Nghymru, pa faes fyddai hwnnw a pham?

Hoffwn weld mwy o gefnogaeth ariannol ar gyfer digwyddiadau cerddoriaeth/celf/drama lleol yn ein cymunedau. Mae cefnogi digwyddiadau byw yn hyrwyddo busnesau bychan mewn trefi ac yn ysgogi teimladau llesol ym mhob un sy’n cymryd rhan.

Beth sy’n eich cyffroi chi ynghylch y celfyddydau yng Nghymru? 

Mae maes y celfyddydau yng Nghymru’n feithrinfa ar gyfer talent ifanc yn ogystal ag yn llwyfan ar gyfer perfformwyr profiadol a hyddysg o safon uchel.

Beth oedd yr un digwyddiad arbennig y gwnaethoch chi ei fwynhau’n ddiweddar, y byddech yn hoffi ei rannu gyda’n darllenwyr?

Yn ddiweddar, cefais bleser mawr yn gwylio Tudur Owen – comedïwr adnabyddus o sir Fôn – yn Theatr y Glowyr, Rhydaman. Dwi’n mawr obeithio y byddwch chithau’n mwynhau eich ymweliad i’r un theatr i weld Estron – sy’n cael ei chyfarwyddo gan Fonwysyn arall.

Diolch yn fawr i chi am eich amser.

Ar daith 19 Ebrill – 19 Mai 2018 On tour 19 April – 19 May 2018 Y Daith / The Tour: Theatr y Glowyr, Rhydaman / Miners’ Theatre, Ammanford: 19 + 20.4.18 Canolfan Garth Olwg / Garth Olwg Centre: 24.4.18 Neuadd Dwyfor, Pwllheli: 26.4.18 Y Stiwt, Rhosllannerchrugog: 1.5.18 Theatr Bro Alaw, Bodedern: 3.5.18 Theatr Felinfach: 5.5.18 Pontio, Bangor: 8.5.18 Canolfan Morlan, Aberystwyth: 9.5.18 Neuadd Gymunedol Maenclochog Community Hall: 11.5.18 Ffwrnes, Llanelli: 12.5.18 Chapter, Caerdydd / Cardiff: 14-16.5.18 Canolfan y Celfyddydau Taliesin Arts Centre, Abertawe / Swansea: 17.5.18 Galeri, Caernarfon: 19.5.18

Get The Chance to explore Cardiff Fringe Theatre Festival in 2018

 

Image credit Dave Daggers

Like theatre? Like sharing your opinions? Want a free ticket to everything in the Cardiff Fringe Theatre Festival this year? Then read on…

Cardiff Fringe Theatre Festival is working with Get the Chance to find a team of critics of all ages and backgrounds, with the aim of reviewing every event in this year’s festival.

Back for its third year this summer, the festival begins on 31st May and ends on 16th June. It aims to offer theatre that is affordable for the audience and the performers, and to provide opportunity for budding artists to grow. Get the Chance offers a platform for a diverse range of people to experience and respond to sport, arts, culture and live events. Both organisations share the belief that the arts should be for everyone. It is hoped that this collaboration will give new critics an opportunity to develop themselves and share their voices.

To be a CFTF Critic you will need to have good availability over the festival period so that you can see lots of performances and write a review of each one you see. Your reviews will be published on the Get The Chance website. You can choose what you want to see and review from the wide range of genres in the CFTF programme.

 

Anyone interested in becoming a CFTF Critic should contact Get theChance at this email getthechance1@gmail.com

If you are interested in this opportunity you need to check you are available to attend and review the productions that form the CFTF festival Please state why you are interested in this opportunity in your email

cardifffringetheatrefestival.co.uk

facebook.com/cardifffringetheatrefestival

twitter.com/Cardiff_Fringe

 

Audio Description for Welsh Dance with Owen Pugh

The Director of Get The Chance Guy O’Donnell recently got the chance to meet with actor, facilitator and audio describer Owen Pugh. We discussed his career to date, recent audio description training with Coreo Cymru for The Family  Dance Festival and his thoughts on the arts in Wales. 

You can listen to this interview through the sound file below

Hi can you please tell us a little about yourself and your practice?

Hello! Right, well I am an actor and facilitator based in North Wales, originally from Penarth, via London now living with my family in Mold. I’ve been a performer for quite a few years now and worked on numerous theatre tours, film as well as radio and voice over. As a facilitator I’ve worked with young people on various topics as well as in more corporate environments.

You have recently received audio description training from Dr Louise Fryer, BBC Radio 3 Presenter and Audio Describer, and Anne Hornsby of Mind’s Eye, both pioneers in UK audio description as part of the Family Dance Festival. The training was organised by Carole Blade, Creative Producer for Dance in Wales with Coreo Cymru. Can you give us more information on this training?

Certainly, well I heard about the training after going to Taking Flight’s ‘Breaking out of the Box’ symposium at Theatre Clwyd a couple of months ago and I jumped at the opportunity. The theme of the symposium was Access and how can access across the board be improved by the industry in Wales. Audio Description was brought up in the conversation briefly along with many other access issues. I’ve always had an interest in radio drama and have done a couple of radio plays myself, that I was really intrigued by the idea of potentially using skills I have as an actor and applying them to a role I didn’t know too much about. We started with introductions meeting Louise, Anne and Carole, from whom I heard of the training via her company Coreo Cymru. We then flew into the training, learning about various sight afflictions and what effect the have; to get an understanding of how vast and varied the pool of people are who require AD services. We also discussed the possibility of how you could incorporate AD into a performance, making it more of a fluid form of access, which really appealed to myself. We learnt about scripting the action; this was particularly hard in the medium of dance as it is so visual that you feel you are describing absolutely everything. Through the company’s dress rehearsals you’re looking out for everything; subtle movements or the environment or specific dance moves. It was incredibly challenging, yet highly rewarding.

We then took part in a seminar where we heard from representatives from the Cardiff Institute for the Blind about their experiences; positive and not so positive, in theatres and other cultural venues across Wales. As well as hearing from Megan Merrett from HYNT who represent Welsh cultural venues that push for better access in their buildings as well as getting people who have additional access needs into cultural venues. It was particularly key to hear from the people who actually use this service, I definitely picked up some good tips! On the final day we took a performance each and Audio Described the whole piece. It felt great to be chucked in at the deep end, you really learn to understand the challenges that are faced in a live performance. The whole process was really rewarding, it has definitely encouraged me to explore AD as a career path, I’ll definitely be looking for future opportunities.

Prior to this did you have any knowledge of audio description for theatre/dance?

Very, very basic. As I mentioned before it was briefly mentioned in the symposium I attended earlier in the year. I have also seen it is available to use at numerous cinemas as well as TV channels and streaming services, but hadn’t much prior knowledge of it in regard to live performing art at all.

Get the Chance works to support a diverse range of members of the public to access cultural provision Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists?

Speaking from experience I have seen first hand at castings the lack of diversity, or perceived lack of diversity and equality. It’s a hard industry to get seen for projects in general: work is of a premium. I feel gatekeepers at organisations have the biggest responsibility to how wide they spread their nets, as well as more encouragement from producers to new writers that demonstrate something that represents the wonderful diversity that is available in Wales so that their voices are heard in the places that matter. And I really hope we are seeing a shift toward that.

If you were able to fund an area of the arts in Wales what would this be and why?

I would give it to the Arts Council and encourage them to back every company that has strong beliefs in promoting their work in communities all over Wales, not just the popular spots!

What excites you about the arts in Wales?

It is a forever growing menagerie of talent across the board. Such brilliant new writing, acting and directing. Such exceptional theatres and companies producing top quality, award winning work. We are pretty spoiled really!

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

‘Black Men Walking’ was a brilliant piece of theatre from Eclipse Theatre Company that I saw at Theatr Clwyd, a bold and diverse piece that struck you in your soul. A great mix of storytelling, music, rhythmic poetry. Loved it.

There will be Audio Description at The Family Dance Festival at the Wales Millennium Centre on Saturday the 14th April.

Audio Described performances and Touch Tours Sat 14 April @ 12.15 for Welsh show and 15.45 English show.

Welsh language taster workshop led by Cêt Haf, (S4C’s Nansi in Follow M) following the 12:30 shows each day.

 

 

Review: This Is Elvis, New Theatre by Barbara Hughes Moore

It may have been a rainy Monday night in 2018 Cardiff, but for everyone watching This Is Elvis at the New Theatre, it felt as though we had been transported back in time to watch the King shake, rattle and roll in the flesh. This new musical, presented by Bill Kenwright and Laurie Mansfield, adapts, and celebrates, Elvis’ 1968 comeback special and his 1970 Las Vegas show, and five decades later the songs remain indestructible, incredible, and utterly unforgettable.

The first thing we’re greeted with is a striking red screen onto which is emblazoned an image of the King himself; his features are only hinted at, half his face obscured in shadow, but he’s still strikingly recognisable. It’s so bold that when you close your eyes the face remains like a camera flash after-image, like a Rorschach test, like the holy face imprinted on Veronica’s veil. Instantly, the image and its lasting effect on the eyes wordlessly articulates Elvis’ legendary status; that we only get impressions of the man he was, shaped by our own perception, experience and memory.

Having been bombarded with that stunning visual, when the curtain lifts it’s not Elvis we see, but rather other people – his manager, his band mates – talking about him. The spectral presence of Elvis’ image lingers, so that when he does finally arrive on stage he hauls along with him the baggage of everyone’s individual and collective ideas of who Elvis was. But from the moment Steve Michaels swaggered onto the stage in that legendary black leather ensemble, he was Elvis Presley.

We’ve all of us probably risked a ‘thank you very much’ Elvis impression at some point in our lives. But Steve Michaels’ performance was not an evocation, or even an impersonation – it was a complete inhabiting of character from the first moment to the last. His every vocal intonation, every gesture, every step and every sound was Elvis – even his hair, from root to tip, was every bit the King’s! Each and every song was varied and vibrant, capturing the essence of Elvis like lightning in a bottle. It was so spot on it veered into the uncanny valley at times, as if this was some living hologram of the man himself, here to bring a little joy into the lives of us Cardiffians on that rainy night. From his first line – ‘if you’re looking for trouble, you came to the right place’ – to his last – ‘Goodnight everyone, I’ve been Tom Jones’ – Steve Michaels lived every second on stage like a man possessed, and when they announced at the end that Elvis had left the building, it felt as if we truly had lost the King all over again.

The first act portrays Elvis’ ’68 NBC comeback special, the emotional and professional aftermath of Elvis’ revived spirits and career, and his first (reluctant) foray into performing a Vegas show. Most tantalising of all, it humanises the King in a way I’d never seen before – who’d ever have though such an extraordinary man as Elvis Presley would feel anything as ordinary as nerves? Fear? Insecurity? Yet we get to see the legend shaking with anxiety at the thought of getting back on the stage after twelve years away from it. At the start, he seems as monumental as that striking image of him emblazoned on the red screen; but by the end of act 1, we realise that this was but one side of the man, magnified, writ large on history. Despite all the accoutrements of his iconic character, beneath it all he’s just a man; a gifted one, but one plagued with the same emotional turmoil that we mere mortals know only too well.

Though earnest and interesting, the first act felt a tad messy in parts, interspersing Elvis’ onstage performances with his offstage personal drama in a way which felt clumsy at times. But act 1 was rendered both necessary and fulfilling by the absolute beast of its second act, which solely, singularly recreates Elvis’ 1970 Vegas show (feat. the iconic white jumpsuit) from start to finish with nothing else in between. It roars along as both a riotous, self-contained concert experience, and as a personal and professional victory, a success of epic proportions that completes Elvis’ road to reviving his confidence and career.

The audience was responsive, raucous and often rowdy, dancing and singing and affectionately shouting out their love and appreciation for the tireless efforts of the performers. And who could blame us, with such iconic, incredible songs to soak up like ‘That’s All Right Mama’, ‘Viva Las Vegas’, ‘Suspicious Minds’ and ‘It’s Now or Never’ – to name but a very few. One of the highlights of act 1 wasn’t even an Elvis track but a stunning rendition of Simon and Garfunkel’s ‘Bridge Over Troubled Water’. ‘Love Me Tender’ was the only song which I felt fell a little flat, but it was sandwiched by such corkers as ‘All Shook Up’ and ‘Don’t Be Cruel’. As an avid, enthusiastic (if amateur) dancer myself, I was particularly enraptured by the more upbeat songs of the night, jiving away to the riotous tones of ‘Blue Suede Shoes’, ‘Hound Dog’ and ‘King Creole’. But even when they slowed it down for ballads like ‘In The Ghetto’,  ‘Always On My Mind’ and ‘Are You Lonesome Tonight’, everyone in that theatre was utterly transfixed. ‘Burning Love’ seemed to be a more fitting final song than ‘Jailhouse Rock’, and the crowd reacted to it as such; the latter is a classic, don’t get me wrong, it just felt unsuitable for the finale. Having said that, using it as the climactic piece makes for a moment of pure circularity where the Elvis at the end of his life calls back to the Elvis who was just starting out. Narratively, it makes sense; musically, less so.

I was amazed – and vicariously exhausted – to watch every performer maintain such high levels of energy and quality throughout what looked to be an exhilarating but exhausting set. You can’t beat live music, but I have to commend these performers in particular for being amongst the best I’ve had the privilege of seeing live. I want to shout out especially to Misha Malcolm, Melissa Brown-Taylor, Katrina May and Chevone Stewart who added stunningly beautiful harmonies throughout the show, and enhanced every song by adding a simultaneously contemporary and ethereal quality. Everyone was incredible, from the guitars to the drums, the brass section to the singers, but I have to shout out to two standouts in particular: Niall Kerrigan on the lead guitar, of whom Chuck Berry would have been proud; and Steve Geere, who performed the dual roles of conductor (not an unclear upbeat in sight) and keyboardist – he was shredding them keys something fierce.

Transcendent, resplendent, incandescent. Whether you love Elvis or have never heard of him, this show is a must-see.

Get the Chance in the running to be named Wales’ most deaf friendly organisation.

 

Get the Chance in the running to be named Wales’ most deaf friendly organisation.

Get the Chance is in the running to be named as one of Wales’ best organisations for being accessible to deaf people.

The shortlist has been announced for the Excellence Wales Awards 2018 – the annual awards run by Action on Hearing Loss Cymru.

The charity’s awards recognise businesses that take steps to make their services accessible to the 575,500 people in Wales who are deaf or have hearing loss.

All organisations either nominated themselves or were put forward by a person who is deaf and has received a good service in the past year.

The shortlist is now in the running to be awarded one of four titles;

  • Service Excellence
  • Excellence in Health
  • Excellence in Arts and Entertainment
  • Excellent Employer

The awards will be decided by an independent panel, made up of people who are deaf or have hearing loss. A People’s Choice Award will be chosen by the public, to vote for Get the Chance in this category please click on the link  here.

Rebecca Woolley, Director of Action on Hearing Loss Cymru said,

“The judging panel now have a difficult job to decide the winners from an impressive shortlist. All the shortlisted organisations prove that simple changes can really improve the lives of people with hearing loss. I hope that organisations across Wales are inspired by this shortlist and start thinking about the simple changes they can make to ensure their services are accessible to the one-in-six people who are deaf or have hearing loss.”

Guy O’Donnell, Director, Get the Chance said,

“Our volunteers produce unique content which supports Deaf audiences and artists to ensure a range of opinions are seen and read relating to sport and cultural provision. We are honoured and humbled to be shortlisted as part of this years awards.”

The awards will be held at Cardiff’s St David’s Hotel on 4 May 2018, presented by ITV Wales News reporter Megan Boot.