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Preview Milieu with Rhys Milsom

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Our project coordinator recently spoke to Get the Chance Creative Associate Rhys Milsom about the multi-disciplinary arts event he curates ,Milieu.

Hi Rhys, can you tell us about Milieu?

Sure, Milieu is a quarterly night of literature, art and photography. Always held at Little Man Coffee Co, and always free entry, the events so far have been jam-packed, with barely any standing room left. Milieu is French for ‘middle’ but also stands for ‘social environment’. This is key, as the art exhibitions are held downstairs in Little Man and the literature is held upstairs. Therefore, people meet in the middle as they go from the exhibitions to the readings and create a social environment for themselves doing so! Milieu is all about promoting up-and-coming, and established, writers and artists.

Sounds great! What are your aims with the event?

The aim is to give these writers and artists the chance to showcase their work in an environment that is creative, fun and inclusive to everyone who appreciates the arts. So far, Milieu has seen writers such as Rhian Elizabeth, Dan Tyte, Matthew David Scott and Rhys Milsom read and artists such as Liam Barrett, Pip Barrett and Jaydon Martin exhibiting their work.

Thats a great list of Wales based writers and artists, when is the next event planned?

The next event is June 10th at Little Man and we have Adam Jenkins, Renn, Gary Raymond and David Lllewellyn reading from their work with Liam Barrett exhibiting his art.

Come down and immerse yourself into a creative nucleus of Cardiff!

Thanks for your time Rhys.

https://www.facebook.com/events/1604132006545049/

 

Review Black Stuff Earthfall by Helen Joy

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3 Stars3 / 5

 

It is late but still light in Cardiff Bay. I am rushing back to the foyer to regain my handbag from the cloakroom, when I am stopped by another member of the Black Stuff audience: what did you think of it? You want me to be totally honest? Yes. Ok, I am hungry and I was bored. Me too, she says, I was watching the audience to see whether it was just me. So was I, I say.

Why bored when there is energy – this unrelenting, grubby energy in the piece?

The manic desire of 4 performers to activate their audience in the filthy black, broken building of Cardiff’s coal black past begins with the usual introduction of the heroic industrial past, the rise of hateful capitalism and the loss of jobs. A facile, lazy, predictable position.

A loose plot of past characters all real and one still living, uncomfortably atop a wonderful, surreal story of miners and hangmen.

Hard to understand, hard to hear the words, hard to follow the perambulatory plot through the rotting rooms. Gratuitous fire and semi-nakedness with a moment of light with Anna Karenina and a cricket match in a corridor over rail tracks. Oh and some nervous amusement over the dining table. Smashing. Grim.

Let me just run over a couple of scenes.

One. A big dark room smelling of damp is lit by a flame at a far corner. 3 men mine lumps of dusty coal from a thick layer of the black stuff neatly carpeting the floor around us. They writhe in it, dance in it, they move it across the space like rocks in Bent. Their movements are assured; working hard and fast, balletic and athletic around our living, Spanish centrepiece and she is glorious in her command.

Another. That dining room with that dining table. Our coal streaked men of nations sit around a polished surface in high backed chairs. They philosophise. They are served soup slopped into their bowls by their opinionated lady. They eat and talk and slaver and drool their words and food dripping over them. Bowls are there for smashing.

So much effort goes into this production and it feels so cruel to be so cold about such a hot topic. But, sometimes theatre can be too clever, sometimes effects override a good story. The location is impressive, the ideas are sound and the performers are exciting – they don’t need to try so hard to impress us for so long. It is exhausting. It becomes monotonous, dull in its efforts to share that energy.

After the finale of rolling and crashing big blue drums around a collapsing ballroom of an office, the applause from the people backed against the walls is long and loud.

In the foyer, I ask another person what she thought: I am reeling, she said, it gave me so much to think about. She is happy and fulfilled by her experience. She is probably not alone. Not bored at all.

Theatre / performance art/dance
Black Stuff
Wales Millennium Centre, Cory building
Tue 17 May 2016 to Sat 28 May 2016
Directed by Paul Davies
Movement Director: Catherine Bennett
Design: Cadi Lane
Lighting Design: Ben Stimpson
Production Manager: Dan Taylor
Performers: Rhys McLellan; Neal McWilliams; Barbara Sarmiento Araña; Aled Bidder
Video: Erin Rickard
Original Sound: Adam Howell
Thanks to Betty Rae Watkins, Sarah Pace and the Josef Herman Art Foundation Cymru – See more at: http://www.volcanotheatre.co.uk/whats-on/black-stuff#sthash.45gW7ytc.dpuf

 

Review (BSL) A Sunny Disposition The Other Room by Heather Patterson and Gareth Freeman

 

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This is a BSL review of A Sunny Disposition, written and directed by Nicola Reynolds, performed  at The Other Room, Cardiff. A written transcription is available below the video.

Hello, my name is Heather Patterson and this is Gareth Freeman.

We recently went to see a performance in Porters which had a small theatre inside a pub! Gareth felt the pub had a relaxing and welcoming atmosphere. The BSL interpreter was on hand to give information before the performance started.

We watched a performance called ‘A Sunny Disposition’ which was performed by a single actor throughout for approximately an hour. The story was about the effects of alcoholism and it’s knock on effects on others.

Heather asked Gareth how he felt watching the performance and he said that the story hit home as he has personal experiences of this in the family. Gareth felt that the story was realistic and he could connect with it. Heather mentioned the impact, the memories and how it can affect you as a person.

Heather asked Gareth how he managed to watch the performance using a BSL interpreter? It was generally felt by Gareth that the story was not lost in translation, he possibly missed the understanding of some signs used due to the regional dialects used in BSL but this did not affect the overall enjoyment. The venue was perfect for this type of performance as you are so close to the acting to be able to read all the emotions in the actors face and body language.

In the Q&A session Gareth wanted to asked questions but felt he did not have the confidence to do so. He wanted to say how much this performance related to his own experiences. The Q&A session was interesting and we both enjoyed that part.

We felt that that the story was realistic, emotional and understood the issues that it had a powerful impact on us. We both agreed having addiction issues were not easy for the person and others living with it.

Heather asked Gareth if this performance should be seen by more deaf people and he felt that everyone was different but encourages them to see it. Gareth will definitely be going to see more performances in Porters as it gives him an avenue to relate to his feelings/personal issues through theatre. Having theatre in BSL enables Gareth to have a social life, to enjoy watching things on an equal par to others (those who can hear) and generally feel less isolated.

We were most impressed that the writer wrote the story based on her own personal experiences, this helped us to really absorb the story and the performance. We will certainly look forward to another story by the same writer.

Thank you for watching us.

Review Smash It Up, Mr and Mrs Clark, Battersea Arts Centre by Hannah Goslin

Smash It Up!

Mr and Mrs Clark

Battersea Arts Centre

5 Stars5 / 5

Two years ago I was lucky enough to be part of the Wales Dance Platform. It was an amazing weekend of performance, film and photography from a range of Welsh professionals.

In Chapter Arts Centre, I witnessed Mr and Mrs Clark and their new performance – ‘Smash It Up.’ I came away mesmerised, proud and inspired. A piece that, as always, seemed polished, well-constructed and well created, was only a work in  progress to my surprise.

If you haven’t heard of the Clarks, then where have you been? To come from a working process to where this performance is two years later, seems almost impossible in how much more amazing it can be, when you already think this it’s pretty incredible to begin with. The company embark on a look into the destruction of art in our World and the substandard it is made out to be in relation to more ‘serious’ businesses and topics.

A low hum, we are introduced to a room of tables with destroyed items and highlights of art from music to images to paintings. Noticing under this hum is the sound of sheep – a link to the Welsh nationality being brought into the hub of London? It seems not – the gentle and patient movement of the tables and other furniture soon moves the audience members – purposeful, we are sheep being herded without argument.

The development proceeds from a sense of calm to gradual anger and destruction of not only art but of our freedom as creatives. The performers subject themselves to potential harm and injuries for their cause – a protest on stage.

Mr and Mrs Clark are known for their use of technology, their physicality and their in depth messages. All of this is in abundance and it is put together so amazingly well that the pieces of the puzzle slot together in such a concise but destructive way. Their energy is consistent and impressive, making you feel envious of how they are able to keep physical for so long – true professional and skilled performers.

If there is only one thing you do this year, it should be to see any show by this formidable company. Their open and in your face opinion and protest to the state of art leaves you not only thinking but also rooting for them if you weren’t already involved In the conversation. Flying the flag for Wales – The Clarks have easily conquered London.

Mr and Mrs Clark

Battersea Arts Centre

http://www.mrandmrsclark.co.uk/index.htm

Review Bird Sherman Cymru By Kaitlin Wray

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4 Stars4 / 5

Bird’ the title of this play took off just like a bird itself. A play that took hold of us from the very moment the first word was uttered until the blackout at the end. Rachel O’Riordan, the director of ‘Bird’ with assistant director Elgan Rhys by her side made sure this play not only, ticked all the boxes but was a complete success.

This was a very clever production written by Katherine Chandler that had twists and turns, it was a play about two young girls in a care home struggling with their past but trying to face up to their future. This is a story that’s so raw I felt like I was trespassing into their private lives. Due to the raw nature, some of the words are at times  lost due to the quick-pace naturalistic acting  but even so, that didn’t take away from the performances overall. Each actor didn’t fault within their characters and it was definitely perfectly cast. The set, designed by Kenny Miller, was simplistic yet effective and I loved the use of the two levels.

Georgia Henshaw, playing the 15 year old protagonist, Ava, showed her naivety and was full of the energy that you could imagine from a girl of that age. However she also portrayed a girl that has been through a lot. Georgia really embodied her character and it was a great performance to watch.

Siwan Morris, playing Claire, Ava’s mother, did a phenomenal job at making the audience completely loathe a character and then feeling sympathy towards her in the end. After loving the character of Angie, Siwan played from the first two series of Skins, she was nearly unrecognisable as Claire. Yet both characters she played were phenomenal.

Rosie Sheehy, playing Ava’s best friend had a voice with such vocal clarity that I loved to listen to, furthermore her dancing skills were on point. Connor Allen, playing a 17 year old Dan who is Ava’s love interest felt like the realest character out of them all who says things as they are. Connor’s characterisation was comedic and entertaining. Last but not least was Guy Rhys who did a great job at acting like a creepy fatherly figure-like role. Throughout the performance it was unclear of his intentions with Ava and Guy and he did a good job at portraying this. This character has one big secret that causes the biggest twist of all.

If you want to know what happened then I would highly recommend going to see ‘Bird’ as it’s a performance that has great technical proficiency with outstanding direction and performers who will no doubt make a great career out of acting.

Director- Rachel O’Riordan

Writer- Katherine Chandler

Designer- Kenny Miller

Composer and Sound Designer- Simon Slater

Deputy Stage Manager- Charlotte Unwin

Lighting Designer- Kevin Treacy

Assistant Director- Elgan Rhys

Review Bird Sherman Cymru by Corinne Cox

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4 Stars4 / 5

 

Chandler weaves a narrative that is a mix of raw heady emotion with some truly lyrical writing.

Ava is on the cusp of adulthood. 16 next month and facing a future outside the care home, all that currently lies ahead of her is an expansive and overwhelming unknown. Her mum doesn’t want her to come home, sheltered accommodation will be miles away from manipulative Lee, and Dan might just like her. Luckily, as best friend Tash reassures her, they always have the option of just flying away…

As we join Ava as she navigates her way through this minefield of complex relationships, from the exploitative to the genuinely heartfelt, Chandler weaves a narrative that is a mix of raw heady emotion with some truly lyrical writing.

The stand out performance for me was Siwan Morris’s portrayal of Ava’s Mum, Claire. Throughout her interactions with Ava there was a stark discrepancy between what I was seeing and how it made me feel. We witness a mother, riddled with jealousy, rejecting her daughter time and again, in complete denial of the fact that her judgement of a new partner could be at fault. Yet underneath this front we feel the desperation of Claire’s intrinsic love for her daughter, a love that perhaps blinds her to the fact that she could ever have wronged her to this extent. A denial which continues to define both her and her daughter’s lives. Morris draws us in with her subtle portrayal of Claire’s own vulnerability as she asserts, as if to convince herself more than us, that she ‘had no choice’.

Georgia Henshaw’s portrayal of Ava is brave, raw and heartbreakingly funny, achieving a sensitive balance between Ava’s anger and her innocence, which is frequently represented in the damaging relationships she enters to fill the void that the desperation for a sense of belonging can create. Georgia subtly teases out these different levels of Ava, from the frantic energy that exudes from the character when she is engaging with her mum, to the fiery exchanges her evident frustration at her circumstance often results in these exchanges resorting to.

What is undoubtedly a challenging view is softened by some stark moments of tenderness – beacons of hope which the audience cling to desperately amongst the evident turmoil Chandler’s characters are facing. The unfiltered emotion in Dan and Ava’s embrace, Ava’s raucous cackling as she’s tickled by Tash, Claire’s reluctant admittance that she may in fact have got it wrong; moments such as these provide some light relief for the audience and humanises the characters.

The world premiere of Katherine Chandler’s Bird at Sherman Cymru this month immerses audiences in a range of difficult themes which more often than not simply aren’t provided with a platform. By giving a voice to those who are increasingly marginalised by society and the media, Chandler humanises individuals in Ava’s position, providing a refreshing alternative narrative which challenges established preconceptions and explores the individuals behind the circumstance. Bird is a thought provoking piece and an accolade to Welsh new writing.

 

Director- Rachel O’Riordan

Writer- Katherine Chandler

Designer- Kenny Miller

Composer and Sound Designer- Simon Slater

Deputy Stage Manager- Charlotte Unwin

Lighting Designer- Kevin Treacy

Assistant Director- Elgan Rhys

Review Belonging Re-live by Kiera Sikora

4 Stars4 / 5

The new production from Re-Live, written by Karin Diamond and directed by Peter Doran, focuses on the stories of two different families. Both families have one thing in common; one member of each family has dementia. But this play does more than tell the story of the horribly hurtful truth of the illness, it also tells us the story of the people who surround those with dementia, in a deeply delicate and witty Welsh way.

One family, a mother (Francine Morgan) with a son (Nathan Sussex), a daughter (Karin Diamond) and a grandchild are struggling through what seems to be the beginning of them recognising the mother’s illness. Her daughter is worried; her son is (at first) oblivious. The mother is frightened and increasingly forgetful sparking some worry in not only her family but her friends too. But amid the worry is the ever faithful humour the mother inhabits, her ability to make a laugh and a joke about her forgetfulness carries them as does her eventual willingness to listen to her family, their worries and fears and also her own.

The other family are an older married couple who have spent 42 beautiful years together in their happily bilingual love story of a life. But their story changes in front of us. We see Morris (Llion Williams), the husband, transform into the illness at a rapid pace. It is, in the most innocently brutal way, hard to watch. His chatty self disappears almost, as he loses his English and speaks only Welsh making communication a difficult deed for his non-Welsh speaking wife. He reverts back to his childhood memories frequently and it is only when his wonderful carer helps him to indulge his own world that we see him feeling comfortable again. Their story pays particular attention to Morris’ wife (Clêr Stephens) too, showing how far those around an ill loved one can feel pushed to the brink while also showing us how the courage, positivity and happy help of others is a golden necessity for anyone living with dementia.

‘Belonging’ is a deeply effective play. Yes, it’s upsetting and painful to watch at times and it’s quick wit does make it’s story feel very close to home. But it’s also a privilege. Rarely do we feel truly touched by what we see on stage; rarely do we see illness being talked about so freely. And rarely do we take the time to recognise that there are people who need us to do just that. To just talk. And to be told how to help and to be told that it’s okay to ask a person if they’d like our help. To some that message may seem obvious but seeing what we need to hear on stage brings a certain confidence to an audience. Re-Live have done just that having used theatre so warmly, to help us engage in conversation that would otherwise go unspoken because of the silence that can sometimes surround an illness like dementia.

Karin Diamond along with Peter Doran and their superb cast have tackled a treat of show. It’ll make you smile, cry and laugh- and you may even do all three all at once.

Torch Theatre, Milford Haven- 19th, 20th May

Neuadd Dwyfor, Pwllheli- 24th May

Pontio, Bangor- 26th, 27th May

Neaudd Ucheldre, Holyhead- 31st May

Galeri, Caernarfon- 2nd June

Theatr Brycheiniog, Brecon- June 8th

http://www.re-live.org.uk/belonging/

Review Bird Sherman Cymru by Kiera Sikora

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5 Stars5 / 5

If you believe that theatre should make you feel like you’ve been hit in the head and heart with raw, honest and thought provoking reality then ‘Bird’ is a play that will soar through your mind well after you’ve applauded and left the theatre.

Set by the coast ‘Bird’ follows the story of two young girls in a care home, lost to the loniless of forced and inflicted cruelty. Ava, played incredibly by Georgia Henshaw, is torn inside the comfort she wants and the comfort she is given. Her friend Tash (Rosie Sheehy) a victim of the same complex, is her stead and dancing heroine who speaks more sense than sense usually allows. Together they are our focus- and we are thrown into their world of dance, danger and desolate distress.

We meet Ava’s mother (Siwan Morris), an irate yet seemingly frightened woman with a brash voice and an even brasher manner, who’s discomfort with dialogue mirrors her daughter’s physicality, and we are immediately shown the disfunctional relationship the two share- with the reasons why hinted at ambiguously. We see from the very beginning that Ava longs for a relationship with her mother, the lack of which which we assume to be her reason for wanting to find a certain sense of comfort wherever she can. It is this search for comfort and security that throws both of these girls into the danger of the men around them. Dan (Connor Allen) is a young boy looking to get lucky with a kind wit and a convincing smile, and Lee (Guy Rhys) is a middle aged taxi driver looking to lure and nest young sparrows at their very weakest.

But it is what Chandler does here, that really makes ‘Bird’ the prime play that it is. She humanises each character. With every flaw and every laugh, every smile and every slice of persuasion- she lets us see the people inside the story so closely that you feel sick for thinking that you could like a person like Lee. The horrendous thing is, Bird shows you how easy it to like him. And also how easy it is for vulnerable young women to disregard themselves so deeply that they become a target for the inhumane vultures who prey on them as he does. We steer away from these people in society, we ignore them and hope that we aren’t the type to socialise with ‘people like them’. But when human interaction is all that you want because it’s all that you feel you need to make your world more liveable, then you will find it and you will saver it, whether it’s wrong or right because nothing is more overpowering than desire. It is that that connects Ava and Lee, Lee and Tash, Dan and Ava and indeed Claire and Paul. The connections, the emotion and the drama that corrupts these individuals is harrowing and it’s hunger for revelation is hurtfully desperate.

There is so much to be said for this play- it’s impact, it’s design, it’s softly suited sound and simplistic yet cleverly constructed set. But it’s what this play achieves, along with it’s strong cast and carefully crafted direction that headlines it’s importance. To voice what it is to be a person on the outskirts of a society that has disregarded them. And what it is to listen to those voices and know that it’s happening. It’s real. And that we must think. Deeply. Often.

Katherine Chandler yet again strikes a burning match with her words and invites the audience into a world that many feel they cannot or will not understand- we owe her greatly for giving us the chance to try.

‘Bird’ runs at the Sherman Cymru, Cardiff until 28th May and then at Royal Exchange, Manchester from 8th-25th June.

It’ll hurt your heart but it’s worth it.

Director- Rachel O’Riordan
Designer- Kenny Miller
Composer and Sound Designer- Simon Slater
Deputy Stage Manager- Charlotte Unwin
Lighting Designer- Kevin Treacy
Assistant Director- Elgan Rhys

Review Bird Sherman Cymru by Lauren Ellis-Stretch

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5 Stars5 / 5

Ava (Georgia Henshaw) and Tash (Rosie Sheehy) are young, optimistic and disfigured teens. Their friendship and integral bond is rooted within the whirlwind of complicated lives and a callous society. As Ava dashes and flitters off every object, person and syllable, Tash is always at heights, dancing at the edge of the world – awaiting flight.

Never have I experienced such an encompassing performance. I strolled into the Sherman, and left sprinting. But, regardless of my train times, Bird is a play that melts the facades and the barriers, and leaves you trying to fly – in all senses of the word.

An elderly man, as the audience were sipping the last dregs of their wine/settling, I heard from the front row, turn to his wife and speculate ‘I think it’s a comedy’. ‘I don’t think so mate’ I quipped, in thought. However, now I see that Bird cannot be constrained to a genre, or what people want it to be. Ava – stunningly performed by Georgia Henshaw – has an infectious spirit and an undeniably truthful perception of life. Resulting in imposing moments of frolic and uncontained rage, I didn’t feel the back of my chair once. Rosie Sheehy, too, must be applauded. Her exploration of the depth within the thirteen-year-old was wonderfully perceptive and chilling.

Katherine Chandler is a writer who sees the world empathetically and urges us all to do so. Desperation is far too attainable as the play’s women appease the men surrounding them. Does the honesty of ‘It just got too much,’ vindicate all the vodka, and the manipulation, and the self-serving? Chandler holds up a mirror to the real world and the audience are almost blinded by the familiar reflections.

Close to the surface lurks the grit and tensions of the women’s lives. The set designed by Kenny Miller, ingeniously incorporates this theme as the characters stand upon the yellowing, moulded tiles of a swimming pool beneath a sky of industrial light.

‘Bird’ is a sharply directed play – so successfully done that it’s easy to forget it had to be constructed that way. Rachel O’Riordan presents a piece of astoundingly compelling theatre as every silence, gesture and intonation propels the audience deeper within the crevices of the narrative.

Very rarely do you leave the theatre in, slightly paralysing, awe. A play as impacting as ‘Bird’ is not to be missed!

Review In Parenthesis WNO by Helen Joy

WNO In Parenthesis. Photo credit - Bill Cooper 925

5 Stars5 / 5

Remember me. The evening before I had sung those words when rehearsing with the Forget Me Not (dementia) Chorus. Haunting to hear them sung out again across the cavernous auditorium of the WMC by men in khaki uniform looking to their end in the First World War.

I am surrounded by men in uniform. Bearskins worn at the doors borne by giants amongst men. Soldiers in full dress, silver horn covers wedged in place with bits of blue cardboard and happy for a head scratch. Red carpet. ‘Busyness’ everywhere and the Centre comes alive to remember the dead.

The first half is hard going, like the waters of the Channel and the muddy war-torn ground Royal Welsh Fusiliers will tread on the Somme. Granddad Joy was injured out on the Somme. Joined up at 17, he would never talk about the war. Here we are, being entertained by it.

I wonder what the soldiers around me are thinking. The first act is removed from them by at least two generations, probably three. Soldiers on the stage sing their way into personalities of a different time.

Act two is different. The visceral consequences of a, by now, boring war. Surreal; trees engulf the men and pick them off one by one. The floral bonnets of the women are lain on the laps of the dead and they are commemorated, returning to the soil to push up new daisies, new trees.

I wonder how the men around me are feeling now.

The choral pieces, from both the male voice choir and the women’s, are gently discordant and hauntingly beautiful. David Jones’ words are spun through the air. The solos are clear and strong and tell the tale of men, old and young going to war. The women are left behind.

There is some humour amongst the pathos – in the back-chatting amongst the men – but not many of us laugh. We all sigh with the joyful relief of recognition when our lads sing Sospan Fach but we are only half way through. We sigh again over the filthy battlefield of Mametz and hope for them.

The sets are clever and simple – the inscribed grey wall slides down and the floor rises and soldiers are in a bunker, crawling away from safety and towards the light of fire.

We leave and push out into the red light of the commemorative installation outside the doors of the Centre. We have been entertained by war. It has been magnificent and dreadful and mad.

Type of show: opera

Title: In Parenthesis

Venue: Wales Millennium Centre

Dates: May 13 to July 1, 2016

Composer: Iain Bell

(Libbrettist: David Antrobus and Emma Jenkins – after David Jones)

Conductor: Carlo Rizzi

Director: David Poutney

Designer: Robert Innes Hopkins

Lighting Designer Malcolm Rippeth

Cast includes:

Private John Ball Andrew Bidlack

Bard of Brittannia/HQ Officer Peter Coleman-Wright

Bard of Germania/Alice the Barmaid/The Queen of the Woods Alexandra Decorates

Lieutenant Jenkins George Humphreys

Lance Corporal Lewis Marcus Farnsworth

Sergeant Snell Mark Le Brocq

Dai Greatcoat Donald Maxwell

The Marne Sergeant Graham Clark

Performances start at 7.15pm, except Royal Opera House on 29 June and 1 July at 7.30pm

Running time: approximately two hours and 30 minutes including one 20 min interval

Sung in English with subtitles in English (and Welsh in Cardiff)

See more at: https://www.wno.org.uk/event/parenthesis#sthash.6q0pYOy8.dpuf

Review by Helen Joy

www.theblockhouseblogger.wordpress.com