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“It’s not the reports that are going to change the world; it’s taking a plate of food to your neighbour and listening to music together.”

As part of the Royal Welsh College of Music & Dramas Civic Mission engaging with different communities, the Race Council Cymru Elders are supported to meet in our building. The group have been using the Tempo Time Credit scheme to come and enjoy some of our productions. In our work to provide access to the arts, we collaborated with RCC to arrange for Anna Mudeka who played the role of of legendary South African singer and activist Miriam Makeba in Mama Afrika which was performed in College recently to meet the group. Priscilla Addey-Blankson Windrush Cymru Elders Project Officer gives an overview below of this recent activity.

Hi I am Priscilla, currently serving as an administrator at Race Council Cymru and holding the role of Windrush Cymru Elders Project Officer. I am originally from Ghana and I have dedicated the past year and a half to working closely with the Windrush Elders community.

In my capacity, I act as the primary point of contact for theRCC, Windrush Elders and their associated projects. My responsibilities extend to planning and coordinating various events and activities for the elders, actively collaborating with them to develop, promote, and implement enriching projects. I am deeply committed to supporting and enhancing the well-being of the Windrush Elders community through my role.

The activity commenced with Ms. Roma Taylor taking attendance and the introduction of the esteemed guest for the day, Anna Mudeka, a South African-born singer, musician, and storyteller from South Africa. Ms. Mudeka shared the compelling narrative of her life journey, delving into her musical pursuits and cultural heritage. She captivated the audience with the introduction of the Nyunga-nyunga, a traditional musical instrument, explaining its details and how it works, gladly fielding the Elders’ inquiries.

Ms. Mudeka shared her personal challenges, drawing inspiration from her icon, Miriam Makeba, and emphasizing the profound impact Makeba had on her own musical journey.

The session unfolded with Anna Mudeka’s enchanting Swahili music, actively involving the elders in the Hakuna Matata song. The interactive nature of the performance allowed The Elders to proudly shout out their countries of origin.

In a delightful moment, Anna Mudeka introduced The Elders to the distinctive click sounds used in her songs, offering a brief tutorial and incorporating it into her performance. The session further featured a recitation of poignant poems by Nelson Mandela and Miriam Makeba, concluding with the lively Dance Pata-Pata music that had The Elders joyfully swaying.

Anna said of the activity “I really enjoyed meeting The Elders and I knew straight away that this would be a learning experience for me too. I loved listening to them talk about their love for Wales. It was a joy to share some time with them all.”

The entire experience evoked nostalgic reflections, with Elders sharing amusing childhood stories. A particularly resonant quote emerged from the session: “It’s not the reports that are going to change the world; it’s taking a plate of food to your neighbour and listening to music together.”

Review, Connor Fogel, Tabernacle, Cardiff by James Ellis

It is a rare thing where I review a friend’s work. Though some opportunities shouldn’t be ignored. Connor Fogel is proving his chops as a music director, pianist and all round dandy. I remained quite touched by his playing on the piano. The choice of programme cleverly demonstrated his talents, Connor has also covered more experimental plains.

Connor knows my thoughts on Chopin, though his Boléro was rather charming. The novelty of Spain lingers, the composers eloquence always on show. Debussy’s Ballade was a special choice, I found the exotic mingling with France to be beguiling. Connor fluttering and depth in the chromatic plain made it sound a breeze, as if a trifle. Quite splendid.

A selection of Rachmaninoff miniatures: two of the Études-Tableaux, Barcarolle and one of the Preludes followed. You may not need massive hands when playing Rachmaninoff, but it certainly would help (the Russian composer had famously large hands). Connor finds many great things in these pieces: the post-Romantic sensibilities, daring tonal leaps all over the keys and maintaining the joy and a heady passion in the pages. Connor has reminded me of the greatness of Rachmaninoff, which I may have dismissed in the past. Though seeing him play the work he adores is proof of this.

The last billing was Liszt and his Andante finale und Marsch aus der Oper König Alfred von Joachim Raff. A lesser known charmer from the eccentric Hungarian composer, Liszt found his secretary and composer Joachim Raff wrote wonderful operas, which got little notoriety. Liszt cheeky and highly attractive work commands more attention, as with his other famous opera transcriptions. The stirring bel canto opening leads into the bouncy march, filled with glissandi, a new ideas at the era. Hats off to Connor for finding these curious rarities that remained a crowd pleaser.

A decent encore of King & I, was a testament to Connor’s stage musical work, the other half to his career in music. I’m glad I went to support a friend, one with oodles of talent.

Connor performs the same recital at Bristol Cathedral on Tue 16th April 2024. 

REVIEW Jac and the Beanstalk, New Theatre by Barbara Hughes-Moore

It isn’t a proper Cardiff Christmas without a trip to the New Theatre, now the official home of Wales’ biggest panto. Over the last few years we’ve seen classics like Cinderella, Snow White and Aladdin – and their latest festive offering Jac and the Beanstalk, truly is a giant of a panto!

Jac and the Beanstalk. Image credit: Tim Dickeson

Starring the iconic Lesley Joseph (Birds of a Feather) and Cardiff’s favourite Dame, Mike Doyle, the story follows Jac (Adam Bailey), a poor country boy who dreams of saving his hometown of Cardiff from the evil giants who live above them in a city in the clouds. Accompanied by girlfriend Jill (Denquar Chupak), brother Silly Simon (Aaron James), and mum Dame Trot (Doyle), Jac goes on an epic quest to defeat the giants’ villainous henchman Fleshcreep (Steve Arnott) with a little help from the Spirit of the Beans (Joseph).

Aaron James and Lesley Joseph in Jac and the Beanstalk. Image credit: Tim Dickeson

With an un-beet-able cast, hilarious jokes and eye-boggling visual effects, its no surprise that Jac and the Beanstalk is a wonderful night of festive family entertainment. When I spoke to star Adam Bailey a few months ago, he also promised some great musical numbers – and boy do they deliver!

Lesley Joseph and the ensemble cast of Jac and The Beanstalk. Image credit: Tim Dickeson

There’s an adorable song featuring the village’s furry friends, a villainous Disco ditty complete with dancing demons, and a standout sequence to Dua Lipa’s ‘Dance the Night’ from Barbie courtesy of Jac and Jill (though it’s a shame they never went up a hill at any point). And the a-maize-ing ensemble is responsible for the best dancing I’ve seen in a panto: kudos to the super talented James Davies Williams, Phoebe Roberts, Amber Pierson, Marcel Li Ping, Janine Somcio, and Lauren Wadsworth.

Mike Doyle in Jac and The Beanstalk. Image credit: Tim Dickeson

Director and choreographer Nick Winston keeps the story light, bright and breezy while writer Alan McHugh and the fabulous cast yield up a fresh crop of Christmas crackers. And the visual effects team outdoes themselves with a heart-pounding, pulse-racing trip to the giant’s lair – in 3-D! (Glasses are provided but you might want to bring your own brollies…) Suffice to say it’s bean on my mind ever since.

A perfect Christmas gift for all the family, Jac and the Beanstalk truly is entertainment beyond be-leaf!

Jac and the Beanstalk is performing at the New Theatre through to 7 January 2024. You can find more information on the show and book tickets here.

Review: Marina Abramović: A Visual Biography & Institute Takeover, Queen Elizabeth Hall, Southbank Centre, By Hannah Goslin

 out of 5 stars (4 / 5)

Arguably, Marina Abramović is one of the most influential and incredible Performance Artists of all time. Her methods of challenging the body, of challenging the social norm, of breaking boundaries and being raw and in your face has transformed much of the performance landscape over the past 50 years and inspired many an artist, including myself.

Abramović is everywhere in London at the moment. Not only with her new book launch, A Visual Biography and her Institute Takeover, both at the Southbank Centre, she is also taking the Royal Academy by storm as the first solo woman performer in their main space and with an opera, 7 Deaths of Maria Callas at the English National Opera. For a woman who was literally on death’s door only a couple of months ago, at 76, Abramović is still pushing boundaries and her body to extremes for art. And us number one fans are happy she still is.

After her memoir in 2016, A Walk Through Walls, telling the story of her life in Belgrade and her art across the world, you wouldn’t think there was much more for her to tell us about. This raw and personal memoir seemed to feature it all, her life, her feelings, her failures, her successes. But in this new book, A Visual Biography, she has teamed up with arts and fiction writer, Katya Tylevich, to delve into her aeroplane hangers full of memorabilia of her life to bring new stories, new insights and plenty of memories.

With both Abramović and Tylevich on stage, this book release felt a lot more casual and free than I remember A Walk Through Walls launch to be. Abramović seemed relaxed, she made us laugh constantly and her stories and anecdotes were mesmerising. There was something changed in her, possibly with a near death experience recently, A Visual Biography seems more a celebration of who Marina is and less about how her work came to be. While her first memoir featured much about her family, she now tells us more of those moments you remember from your childhood. At the time, many seem like terrifying scenarios but certainly ones to be appreciated and laughed at now.

Abramović is hugely engaging and an hour and half did not seem enough to listen to her. She is captivating in her own right, without her magnificent art, with a life full of unique experiences and humbleness.

Following from this, Abramović and the Abramović Institute have taken over the Queen Elizabeth Hall, from front of house to the backstage and areas likely unseen by most of the public. Using the Abramović method, the artists are encouraged to present long duration work over several hours across a number of spaces, allowing the audience to self-lead their experience. Marina herself is not performing, but there’s enough essence of her in each performance to not feel at all cheated.

This was opening night and therefore, taking into account any problems with this. It seemed that much was delayed, from the opening of the venue itself to some of the works. Once you were in, you could see lots in the foyer but the knowledge there is more behind the scenes that you couldn’t quite yet access yet was tantalising but also confusing at times. Once everything opened up, the freedom to roam felt enjoyable and clear, with signs noting spaces and doors you couldn’t enter. It felt like a little treasure hunt throughout the building.

As time went by, the crowds increased and there were many smaller performances in tiny spaces that developed long queues. All performances are well worth the wait but you need to be prepared that some may need a wait. As they are durational, there are a number that change as time goes on, and so instead of doing a once round, always take the journey around a few times as it is ever changing.

Performances ranged from almost no movement, to abusive and loud anarchy, to continual movement pieces. There was something for everyone, including interaction from potato peeling to unusual yet childlike chats with a group of clones. Each art and artist has created something unique and perpetrating to their lives and what they wanted to convey and each was fascinating on their own and in comparison as you crossed from one to the other.

Audiences are almost forced in close quarters at times with one another, and there’s a almost meta sense of freedom to roam but at the same time, being confined closely with strangers. It is an extraordinary exhibition that we wouldn’t have dreamed of having in 2020 during a pandemic.

The sheer determination and strength of the performers, their bodies and concepts are incredible. Not one looked bored. Not one looked as if they were not fully in their space and performance. And this is what is awe inspiring and incredible. One performer spends the entire performance, melting a block of ice with their own bare body… when you think how you feel holding an ice cube for a short time, this on a larger scale without any break in character is impressive and thought provoking. Abramović notes in her book launch that a fit and almost dancer body is needed for her type of work – to sit still or move slowly/hold a position for a long time is actually painful and an experience little of us ever have or will have. We are used to moving when uncomfortable, but this is often not an option in these scenarios.

Marina Abramović Institute Takeover is an immersive, performance art exhibition and experience unlike any other. It is the height of contemporary art and each piece is unlike anything seen before. You may not be seeing Marina herself perform, but the heart of her influence and method is abundant in each performance, while leaving room for the artist to be their own.

La Traviata – a review by Eva Marloes

Stacey Alleaume as Violetta in La Traviata, photo by Julian Guidera

 out of 5 stars (3.5 / 5)

In the past week, the documentary In Plain Sight, an investigation by Channel 4’s Dispatches and the Sunday Times, has alleged that comedian turned wellness guru Russell Brand is responsible for exploitative treatment of women, including rape and sexual assault. Just like when the #MeToo  movement emerged, many have questioned the women speaking out. Women are still exploited by powerful men and their sexuality is still policed.

La Traviata couldn’t be more topical. Verdi’s opera was shocking in depicting and taking the side of a ‘fallen woman’, what today might be an escort. Alas, the unimaginative direction, originally by Sir David McVicar, here by Sarah Crisp, makes it look preposterous and bizarre.

Violetta, a courtesan, meets Alfredo at a lavish party. She decides to leave that life and live with Alfredo supporting their life together financially. Unbeknown to Alfredo, his father asks Violetta to leave his son to protect his and his family’s reputation. 

Stacey Alleaume as Violetta and Mark S Ross as Giorgio Germont in La Traviata, photo by Julian Guidera

Violetta leaves Alfredo who feels spurned and acts his revenge by throwing money at her in public to repay her. Verdi thinks she has a dignity and should be respected.

It is none other than Alfredo’s father who defends her and condemns his own son for disrespecting her. Yet, only at the very end Alfredo learns that Violetta sacrificed their love and life together for his reputation. He comes back to see her dying. 

La Traviata could still be a powerful story if set in today’s times, just as James Macdonald’s clever production of Rigoletto did by setting it in Washington DC in the #MeToo era. 

The WNO’s traditional setting fails to convey Verdi’s intention. The choice of a very dark set design, presumably to symbolise impending doom, has a jarring effect on the opening scene whose frivolity and joviality are dampened. It weakens the unfolding of the tragedy and frustrates the solid performances of the artists. 

David Junghoon Kim shines as Alfredo, just as he did as the Duke in Rigoletto. He is at home with Verdi and gives a performance full of pathos. His beautiful tonality and powerful voice deliver longing and sorrow effectively. Stacey Alleaume as Violetta has a splendid coloratura. She’s at ease on high notes and bel canto. In the ‘croce e delizia’ duet with Alfredo in Act I, she seemed often overpowered by David Junghoon Kim when singing at a lower range. She is stronger in the second act with Mark S Ross, playing Alfredo’s father Giorgio Germont, and the final dying scene. Mark S Ross has a beautiful baritone voice. He gives an excellent performance.

The WNO’s chorus is strong as ever. The orchestra, under the baton of Alexander Joel, gives a solid, albeit uninspiring, performance.

David Junghoon Kim and Stacey Alleaume in La Traviata, photo by Julian Guidera.

WNO’s Ainadamar – a review by Eva Marloes

 out of 5 stars (3 / 5)

Ainadamar is an homage to poet Federico Garcia Lorca, who was killed by the fascist falangists during the Spanish civil war in 1936. It is told through a series of tableaux where actress Margarita Xirgu, Lorca’s muse, reminisces with her student Nuria of the time she met Lorca, her attempt at persuading him to leave Spain, and his execution.

Ainadamar, which in Arabic means fountain of tears, is one of the early works of eclectic composer Osvaldo Golijov, who excels at weaving together folk, pop, and classical music in harmonious balance. Here, Golijov brings together flamenco’s cante jondo (deep song), electronic sounds, mournful ballads, and classical opera references. His musical complexity is refined but overly dominated by longing and anguish.

The astounding performances of Jaquelina Livieri as Xirgu, Hanna Hipp as Lorca, and Julieth Lozano Rolong as Nuria, make for intense moments of longing, hope, and loss. The imaginative light design and direction keep the audience engaged countering a too simple narrative with no emotional arc.

Hanna Hipp as Federico Garcia Lorca, photo credit Johan Persson

Ainadamar opens with Margarita Xirgu (Jacquelina Livieri) preparing to go on stage as Mariana Pineda, the 19th century liberal martyr subject of Lorca’s play. She tells her student, Nuria (Julieth Lozano Rolong) of meeting Lorca in a bar in Madrid. The scene shifts from a light-hearted rumba to a nostalgic duet. Jaquelina Livieri’s agile and rich voice make Margarita spell-binding. Mezzo-soprano Hanna Hipp, as Lorca, has power and stage-presence, yet tender in her duet with Livieri.

The memory of Havana is broken by the harsh radio broadcast of fascist Falangist Ruiz Alonso. Alfredo Tejada, as Alonso, conveys power and anguish as flamenco cantaor  counterbalancing Lorca’s flamenco cante jondo

Alfredo Tejada as Ruiz Alonso, photo credit Johan Persson

In another flashback, Margarita recounts her attempt at persuading Lorca to flee to Cuba. The nostalgic and dreamlike image of Havana, the route not taken, is a sensual and playful moment that gives way to grief. Lorca does not want to run away and chooses to be executed. 

The final tableau is in the diegetic present of 1969 when Margarita is dying in Uruguay recalling Pineda’s last words of freedom. She is joined by the ghost of Lorca. The scene fades out rather than reach a climax. The sense of loss and longing dominates Ainadamar from beginning to end. There is intensity but no drama. 

Photo credit Johan Persson

Review: Dumbledore is SO Gay!, Southwark Playhouse, By Hannah Goslin

 out of 5 stars (4 / 5)

Throw me something Queer and Harry Potter related, and I am there. While walking into the room, I was already transported by the simple yet extravagantly painted room that crossed barriers of reality and magic.

Dumbledore is SO Gay! is a coming of age tale about Jack who struggles with his sexuality as a teen, his feelings and actions while figuring this out and the consequences of this. His love of Harry Potter allows him to travel in and change time to create a better and more inclusive world. His favourite character is Dumbledore, the only opening gay character and he feels affinity with him and his magical powers. But also questions, why is the only queer character killed off and is this a metaphor for life?

As a teen during the Harry Potter explosion of the noughties and a continued fan (I openly watch it on repeat most days of the week and Stephen Fry narrating it on audible is how I get to sleep), the references were specific, real and relatable. The love of Harry Potter was a real era for us and continues into our adulthood and the parry of this with the element of growing up and finding out who you are worked well. We certainly felt and went through this with the characters themselves during the Harry Potter years and so it reflects well on stage with Jack and his friends.

Jack continues as himself through the whole production and, as the main character, to see him change as a person is fascinating. Jack has the chance to change time, to tackle moments of homophobia to change the landscape, and how many of us have wanted to change the past? He grows with these changes and they change him, his opinion and confidence to protest and change the world.

The other characters are covered by two other cast members and both change voices, accents, personalities and physicality with complete smoothness that we believe they are different people. A moment where they break down the forth wall and become self aware when one actor has to revive two of her characters at once – the back and forth is its own comedy and her smooth transition it absolutely excellent.

The movement between scenes, through the time turning and that transition is so flawless. The actors are faultless. And the story and narrative is perfection. The only qualm would be references to queer culture that some may not know and maybe do not get the comical or emotional response that they deserve. But that would be the case for myself as a female, ally and undecided on my own labels. I understood many, from my ally-ship and friends but likely a lot were specific to queer, male culture in London. But this only meant that those who affiliate with that would have their own feelings of something more relatable to them.

Dumbledore is SO Gay! is relatable to many, specifically relatable to others, emotional, comical and over all fantastic. It is a show for any millennial, any queer person and anyone struggling with who they are. It is a triumph of a theatre production.

Review: Stark Bollock Naked, Larisa Faber, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

The age old pressure and discussions have been forever on women and the expectation to have children. But this isn’t for everyone and yet, this is still taboo in the 21st century.

Stark Bollock Naked addresses the pressures of age, society, other’s commentary on women’s bodies and the expectation to reproduce. It takes a look at this, at the viability and different situations and noting that it’s okay to not want that life, even after you thought you did once.

We are firstly confronted with a naked lady in front of us. The silence ensues and it needs to be congratulated that the performance starts ensuring that audience is awkward and uncomfortable, to make sure they take on the tricky subject.

The actual silence and pausing throughout is very powerful and at times comical and let’s us digest the relationship between the audience and performers. When the action begins, a really interesting projection is created, shown on the performer’s body and with an essence of stereotypical outfits of women as she monologues her story. This felt quite 1927 and the more hyper-realistic performances they create and was a really unusual and unique theatrical trick.

The narrative is comical, stating the facts and also very bold. There are comments on this person’s story, that are comments we, as women, are told not to say or think or feel. Stark Bollock Naked is throwing these into the ether and with no apology.

For me, it felt quite mismatched with what the performance wanted to achieve. It was really intriguing, performed extremely well and with a great concept and approach, but it felt a little like they weren’t entirely sure whether it was a comedy, an emotional production, a touch of clowning or avant garde. There’s nothing wrong with combining these but jumping from one to the other didn’t seem to sit well.

Stark Bollock Naked is exactly the theatre we need, where the unspoken rules around women are unleashed. However, more work is needed to combine the genres they are trying to touch upon.

Review: Unforgettable Girl, Elisabeth Gunawan/Created a Monster, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

We’ve all heard the stereotype of Asian women, mail order brides and all that comes with this. It becomes a joke within plays, movies and our society. But does anyone really think about the person behind this and what they go through.

Unforgettable Girl brings this stereotype to the forefront – comical and satirical, she embodies the Asian bride which is sexual, engaging and self aware. We see and hear her story, from her home to the call that changes everything. She also brings on the attitude and approach from middle class white society and the unforgivable but “nicely” put racism. It is throwing these unsaid issues in our face with no apology.

There is use of multimedia throughout which gives different levels between the performance and creating a hyper-version of reality. The stage and props are mostly made out of “trash” and is referred to, giving the sense of the little these women are thought of. Some slight comparison, while subtle, is made to white blonde barbie dolls, while a creepy voice over sexualises the mail bride over the phone. It is unsettling but powerful.

While the concept is really interesting and unapologetic, it felt slightly stunted between “scenes”. Perhaps there was a lot to change between characters and scenes and whether more physical theatre or theatrical techniques could be used to move between these, keeping the momentum and the dark atmosphere going.

Unforgettable Girl is anything but forgettable and a great concept, but still needs work to help it continue to grow.

Review: MEAT, Elle Dillon Reams, Ed Fringe, By Hannah Goslin

 out of 5 stars (5 / 5)

I’m going to start this review with a very bold statement: MEAT is the best thing at this year’s fringe and if I could give more than 5 stars, then I would.

This was a bit of a last minute choice for me. After filling my diary with requests, I tried to put in some interesting ones from the festival line up to fill spots. MEAT sounded intriguing and, I’m so glad I saw it. It was my last show of Ed Fringe 2023, and one I will not ever forget.

Coincidentally, I felt that I had seen a lot of feminist theatre while at Edinburgh this year, a lot looking at bodies, of consent, of domestic and sexual abuse. The quantity for sure does not shadow the importance of these productions. But there was something about MEAT that was unlike any thing I’ve seen, within this topic and others.

MEAT looks at women’s bodies, their own and others relationships with them; through weight and puberty, sex and growing up. Elle taps into how the body changing and judgement affects a woman growing up, and digs deeper into their subconscious than anyone making certain comments would think. It looks at sexual assault, how it strips away the empowerment and confidence of women and how we must build that back up. That these events are not our fault or should be felt guilt about from a victim.

Elle swaps from informal discussions with audience members, where we are asked to be involved in movement, with suggestions, discussions – they are always comical and fun and there is a sense of ease with her – we are her friends and nothing less. She transitions into spoken word which is poetic and powerful, engaging and trance like. There are skits of becoming a comedian, of other influences and commentary bundled into a character. There is physical theatre, movement, there is singing and dancing. There’s moments of sheer highs and moments of dark lows. And the way that Elle flows between all of this is graceful, it is so slick and so profoundly emotional. She is also absolutely hilarious and the belly laughs I felt were real; from her incredible ability to improvise, to her genuine humility.

Elle touches on some really tough subjects. She speaks honest and freely, addressing us all in unison but somehow, individually. She tells us that these incidences are not our fault, asking us to sit and live in the feeling we have when she is up front and straight with us about this. She is warm and comforting, and there are little dry eyes in the house as anyone who has experienced such interactions relives this but feels the warmth of Elle’s words. She notes that the production is scheduled for 1 hour, but that she finishes this early to allow a space for anyone to sit and feel their feelings and feel okay again. She even offers sweaty hugs at the door. It’s easy to bring a production to an audience, noting trigger warnings and when the lights are up and the applause had, let them go into the world. Elle notes, whether from experience or empathy, that there needs to be time to adjust to the shock of the topics and likely memories that are conjured. There isn’t a review comment to be made on this from a theatrical sense, but a personal and arts professional comment that this should be included in most triggering productions – a safe space should be provided and time to digest rather than just unleashing unsuspecting audiences back into the treacherous world after touching a sensitive part of their soul.

MEAT is an absolute powerhouse of a production. It has everything that a theatrical production on the fringe circuit would need and yet it is miles ahead of what the industry is achieving. It is emotional, it is powerful, it is utter perfection.