A vlog review by Young Critic Caitlin Finn of Chitty Chitty Bang Bang at the Wales Millennium Centre.
“It all added together to make such a beautiful, reminiscent show that you will definitely not want to miss.”
A vlog review by Young Critic Caitlin Finn of Chitty Chitty Bang Bang at the Wales Millennium Centre.
“It all added together to make such a beautiful, reminiscent show that you will definitely not want to miss.”
We live in a multi-cultural society with rich cultural heritage that is not being reflected on-screen. This needs to change. There is no excuse good or enough reason to justify the lack of representation in the media in this day and age.
Representation matters to people like me. People who want positive role models that we could relate to. That’s why when I was younger, I was hooked into any show where I saw a black female character. No matter the quality of the show or how it was written. This was because it was such a rarity to see this. Unfortunately for me, writers would try to pander to their audience by feeding them stereotypes of sassy angry black women. The negative stereotypes are not just a problem for black viewers. Minorities are consistently forced into stereotypical roles that society perceives them to be. These characters would be less important, predictable and ultimately unnecessary. One reason for this is the lack of diversity behind the scenes. How can straight white writers relate to the experiences of minorities?
Even when minorities are cast they are faced with prejudiced voices speaking up to raise their objections. Some may remember when John Boyega was cast as a Stormtrooper in Star Wars. The global outcry of racists exclaimed “White Genocide” and that the film studio was conforming to the “PC Agenda” Boyega was bombarded to with hatred fuelled racist tweets. Does their imagination not stretch enough for other ethnicities or is it limited at intergalactic wars?
Cast member Kristen Wiig at the LA Premiere of Ghostbusters.
Another example of fury when Diversity is applied was the all-female Ghostbusters reboot. “They’re ruining my childhood” cried familiar prejudiced voices. Their childhood is over and has been for quite a while now. What they are neglecting to notice is that this movie has provided a younger generation with strong female role models. It seems that whenever diversity is enforced there is backlash. How can change be implemented if we are met by defiance at every turn?
Tilda Swinton as The Ancient One in Doctor Strange
Ridiculously, ethnic minorities are even unable to get cast in non-white roles. This is called Whitewashing and it occurs when a white actor is cast in the role of a non-white character. It is not uncommon for this to happen. A recent example of this is the upcoming Marvel Movie Doctor Strange. Tilda Swinton plays an Asian character in this film. Essentially the film will be a “white woman teaching a white man Asian culture.” There is no debate on the capabilities of Swinton. She is a talented actress but she is simply unsuitable for this role. If people of colour are losing non-white roles to white actors, then what hope do they really have?
An argument against diversity is that it is too much of risk to cast minorities. Studios fear losing viewers and money. However diverse televisions shows and films are advantageous to studios and have a track record of being successful. Television shows that have a diverse cast have higher ratings. Examples of this include ‘Scandal’, ‘How to Get Away with Murder’ and ‘Brooklyn Nine-Nine’. Films coincide with this. Those with diverse casts make notably more money. For example, the extremely popular ‘Fast and Furious’ franchise. The summer blockbuster ‘Suicide Squad’ saw found that 39% of its ticket buyers were Black and Hispanic. The movie boasted a diverse and multi-cultural cast.
The cast of Suicide Squad
We know that diversity does work and that it is not a risk. So why does Hollywood remain white?
Playwright Kelly Jones
Get the Chance values the role playwrights living and working in Wales bring to the cultural life of our nation. Here is our second interview in this series with playwright Kelly Jones.
Hi Kelly great to meet you, can you give our readers some background information on yourself please?
I’m Kelly, a playwright and occasional performer based in Cardiff. Originally a Dagenham girl, I’ve lived in Wales since 2007. I moved here to study the final year of my degree at Swansea Met and never went back. My course was mainly performance based but after graduating I realised this wasn’t something I wanted to do, so I began writing. I took part in various writing initiatives to hone my craft and develop my voice and I got asked to write for a few shorts nights.
In 2013 I decided to leave my full time job in a betting shop to go full time freelance. It was the scariest and most exciting thing I have ever done. I’d been offered a place on NTW’s summer camp, however, my work said I couldn’t have the time off to go so I quit – It was a real now or never moment.
Since then I have won the Wales Drama Award with a play of mine called TAMMY, got an agent and have been offered commissions from various theatres. Oh and I also got married, which was very exciting! So that’s me.
So what got you interested in writing then Kelly?
When I was at university we did a unit called ‘ Writing for performance’ – I hated it. But after graduating I started writing parts for myself to show work at scratch nights and I caught the writing bug! It developed from there
I suppose the main reason I wanted to write was because I never felt there were parts for me; that said what I wanted to say about the world that I lived in at that time.
In my work I like to write life and put real people that I know at the heart of the action. Growing up in Dagenham I was led to believe that a career in theatre wasn’t meant for a girl like me by both peers and teachers. Fortunately I grew up in a very supportive family full of natural born storytellers and as a result I love to tell stories, of course I was meant for theatre! I like to challenge the idea of who theatre is for and often find myself using my upbringing in London and rooting in Wales as start points for my work.
You were part of the Sherman Theatres Young Writers Programme, how did this work?
Yeah, so not long after I moved to Cardiff I got involved with the Sherman’s Company 5 drama group, ran by Jason Camilleri and Llinos Mai. We did a performance piece of monologues we’d written about things that had happened to us. I wrote a comedy piece about when I came out as gay to my family. Llinos really liked it and put me in touch with Sian Summers who used to be the literary manager at the Sherman and she invited me to be on the program. The program was so great! I learnt a hell of a lot and just being surrounded by other writers was motivating and inspiring. Alan Harris was a great teacher!
I think it’s incredibly important for writers to meet other writers; being a writer can be a lonely job and sometimes it just helps to have someone else to chat to.
As a playwright a lot of your work is funded through grants and the like have you ever approach the Arts Council of Wales or similar organisations for funding or support?
I have a good relationship with Arts Council Wales and have been very fortunate to receive funding from them. They’re approachable and friendly as an organisation and are always happy to help if you have questions.
I’ve found getting venues to produce your work is difficult in Wales and if you don’t self-produce sometimes unfortunately your work won’t get on.
As funding is limited I always try and seek it from other sources or contribute my own funds so that the amount I’m asking for is less. Sometimes this isn’t always possible but it’s important to get to know what else is out there.
Kate Rowland (BBC Writersroom), Kelly Jones, Faith Penhale (BBC Wales Drama), John McGrath (Ex Artistic Director National Theatre Wales)
You were the winner of the Wales Drama Award 2014 that’s a brilliant achievement!, can you please tell us more about this award.
I still can’t quite believe it to be honest! It’s been nearly two years and it has opened so many doors for me. The award is a biannual prize given to a writer in Wales, supported by NTW/BBC Wales and BBC Writersroom. I submitted the first time it was launched in 2012 but didn’t get anywhere and to be honest the play was awful. I wrote what I thought the judges wanted which is not a good idea.
Before I submitted in 2014 I attended the session about the award hosted by the Sherman and it was during that session that I had the idea for my play, TAMMY. I submitted a real rough and ready first draft and never expected to get passed the first round. When the email came through to say I’d be shortlisted to the final 4 I laughed then cried then phoned my mum.
The next stage was an interview with the judges at Roath Lock, where we had to pitch two ideas- it was scary! I pitched a play and a TV series; the play is now a seed commission with NTW and the series in development with BBC Wales. I really enjoyed the interview process. Post winning; Lucy Gannon was appointment my TV mentor and Sherman Co produced a reading of my winning script TAMMY with NTW. There have been so many great things to come off the back of the award and I am excited for the next winner to start their journey.
As a playwright award-winning playwrights Tim Price and most recently Katherine Chandler have mentored you. Why is this mentoring process important for playwrights? Do you think this support is something that should be funded for playwrights in Wales?
I think it is so important to have a mentor no matter what stage you are at. Mentors are a support and resources. Whether you want to talk something through with them or get them to read something of yours, that’s what they’re there for. Both Tim and Kath were great for me at different stages of my career.
In terms of funding it’d be great if their was funding for peer-to-peer mentoring.
I often get asked to read writers work and am more than happy to do it. However I’m not able to always give it the time it needs. I think funding could help free up some time to devote to it. A nurturing mentor program for writers would be great to help develop the next generation of talent.
Your play Blud was performed at the Other Room, it was set in the world of female football, which isn’t often seen on stage. Is presenting diverse views of the world important to you?
For me BLUD felt like a play about where I grew up. The women in my family are more into the football that the men and girls like Rita are ones I used to go to school with when I was a teenager.
I’d say it’s important to me that the world I know is represented on stage and with authenticity. I get very annoyed when I see something that plays to all the ‘poverty porn’ stereotypes. Especially when they’re written by someone who grew up in Chelsea who ain’t got a clue about growing up in a council house. I feel similarly about LGBT characters. A lot of my community work is with LGBT organisations and gay representation is very important in my work. I write and volunteer for LGBT organisations is to combat this. Authentic representation is very important and I would never attempt to write something I didn’t fully understand or have a personal relationship to.
In your personal opinion what sort of support networks are there for playwrights in Wales, can more be done?
I think the biggest support network for writers in Wales is other writers. I think more could be done; I’m not quite sure what but maybe a writer led discussion would help to tackle this.
To bring us up to date this autumn your play Snout will form part of A Play A Pie and a Pint and be performed at the Sherman Theatre/ ÒRAN MÓR. The synopsis of the play sounds intriguing! I wonder if you can tell us more?
Yes. The inspiration came from an article I read about fashion designers who we’re tattooing pigs and posthumously using their tattooed skin to make handbags, that sell for thousands of pounds. I began reading of farmers who were also doing this but using the pigs as blank canvases to advertise local businesses and help local economy. I found this fascinating and began writing. I was particularly shocked at this heightened level of exploitation to satisfy the demand for a handbag made from a tattooed animal. Animals are voiceless and as one of the most intelligent animals, pigs don’t have a say in this. It made me think of parallels to slavery, exploitation of some communities and modern day sexism.
So, the play is set in the back of a van on its way to the slaughterhouse. It shows the last hour in pigs Viv, Coco and Lacey’s life as they make plans to escape the chop. I wanted to question whether they have the right to escape when they were breed to be slaughtered and whether it’s right to kill animals for fashion that changes so often. I certainly wouldn’t want to end up as a jacket for Kim Kardashian.
Aesthetically, I wanted to play on the whole ‘Pie’ part of the evening and have the play feel like they audience are watching their dinner before it becomes their dinner- if that makes sense? The van is quite claustrophobic in a bit of lobster tank way and I want the audience to really feel for them whilst being surrounded by the smell of pork pies. It’s been amazing working with Oran Mor, Sherman and director Kenny Miller, it’s really allowed me to be bold in the choices I’ve made and write something really exciting. The first draft I submitted was quite different and Kenny really encouraged me to be braver and his support has been invaluable. I can’t wait for you all to see it
Thanks for your time Kelly!
‘A reminder that we are all human.’(5 / 5)
As we congregate outside Butetown History and Arts Centre, our identity stripped back to little more than the number in our hand, Fio invite us to consider what life might be like if we were forced to leave everything we know and love behind in order to escape war and violence.
Civil war has broken out in the West. People are dying at the hands of the dictatorship and escape is the only option. The East can provide opportunities for some, but the fast track is only available to those with the right papers and the desired skills and experience. With our social media and newspapers plastered with news and images of mass migration to Europe, it is this reversal of roles which makes Swarm particularly interesting, directly provoking the audience to consider ‘What happens if this happened to us?’
“You’ve got a swarm of people coming across the Mediterranean, seeking a better life” David Cameron, July 2015
A defining feature of the media narrative surrounding immigration has undoubtedly been that of the dehumanisation of migrants. Swarm captures this brilliantly through Cara Jayne Readle’s portrayal of a Media Representative, reporting on the ongoing tragedy in the war struck west for the no doubt passive consumption of those back home.
As we are herded into the overcrowded transit centre where we wait to be processed, tensions run high amongst overstretched medical staff. Natalie Edward-Yesufu’s heart-breaking performance of a young nurse as she struggles with her feelings of hopelessness to change the devastating tragedy around her and the possibility of hope and a new life in the East.
As we navigate our way through the building certain aspects of the set create a particular degree of poignancy; a section of Ruth Stringer’s #2868 boats installation, a paper boat to represent the life of every Syrian refugee drowned or missing attempting to cross the Mediterranean so far in 2016; children’s colourings created by members of the community cast as part of the performance created on pieces of paper bearing statistics of the unbelievable scale of death and devastation that the East has faced; screens with images of the horrifying conditions migrants face and the overplay of refugee voices all add to this already captivating narrative which examines how people in these situations are forced to act and interact with the circumstances placed upon them.
This timely and poignant site-specific performance reminds us, if we really needed reminding, that this is a human crisis.
Cast: Mathew David, Christina Dembenezi, Natalie Edward-Yesufu, Natalie Paisey, Cara Jayne Readle
Director: Abdul Shayek
Assistant Director: Chantal Erraoui
Producer: Alan Humphreys
Designer: Lizzie French
Stage Manager: Katie Bingham
Filmaker: Kym Epton
Community Cast: Jasmine Camilleri, Sahara Camilleri, Tia Camilleri, Josie Harding, Mira Lukawiecka, Stefan Lukawiecki, Donna Males, Geraint Stewart-Davies, Ananya Upadhyaya, Ayushi Upadhyaya, Akram Yasseen, Amani Yasseen.
(4 / 5)
Director James Williams was placed, alongside the producers at Arts Active Wales, with the admirable but ultimately unenviable task of threading together a week’s worth of workshops, carried out by young people who had never before met, together into a show worthy of the New Theatre.
Despite the insularity that is always a potential threat to any of these types of projects, they always expand outside their form – making it a real shame this performance, perhaps weighed down by the somewhat awkward virtue of its name, wasn’t a tad more well marketed. What the Sherman NT Connections festival did so well with interpreting set theatre pieces this project did for new material.
There were, of course, lots of layers of interweaving. The more complex ideas with the weaker ones, the reasonably large age gap of performers aged 14 – 25, and of course the disciplines of circus, design, dance, art, music and the spoken word. The poetry, overseen by Literature Wales was one of the highlights, although a few themes might’ve meandered, and there were moments where politics seemed a little indelicately transposed onto some performers. Having sat in on the workshop, any chinks in the material were minute distractions against the obvious double edged sword of the time frame, and the integration of every workshopped piece into the whole.
The ensemble for ‘Performance’ 2016
Community Music Wales where also very active in the show but where better executed and more memorable when used as a backbone for the other artforms. The Art and Design elements were the most sporadically used but well done; a Dali like background to an intense, exhaustive dance piece the most effective example. Impressive puppetry was also used, although the flashy teddy bear, turned Gothic by the lighting, would best be appreciated of those who, unlike this critic, have not been subjected to the ‘wonders’ of FNAF by younger family. No Fit State’s Circus performances showed the two most obvious flavours, a humorous but slight juggling gag to trapeze, but there will be no world in which the mastery of the latter doesn’t inspire some kind of awe.
All the elements worked well together, but Earthfall Dance had a monopoly on the night. Contemporary dance is one of those things all too easy to get wrong, viewed by the general public with cynicism, and even sometimes within the arts with a gentle wryness. In this show, it was stunning, performed by the trained dancers, with natural acting talent alongside passionate energy. It whipped up the most natural commentary and narrative of the night whilst seeming absolutely effortless. As always, simplicity was king and queen alike. Even though others without dance experience were involved, they too seemed totally natural. Whether swift and pulsating or tender and subdued, it was perfectly executed.
Overall, the pieces which were meant to form more of a cohesive story than a thematic connection were too brilliant not to hinder the more standalone pieces which would otherwise be fine if unengaging but it rather accurately depicted the current arts scene, whilst showing plenty of scope for new forms of talent. The difficulty in reviewing this was that any flaws are part of its form and therefore, any commentary can’t seem too constructive, but trying to bring young talent out of its usual spheres and into the general stage is an admirable thing. It was never going to be perfect or show any calculated insight, but it was certainly vibrant and showed plenty of the organic kind. Very much worth keeping an eye out for next year, but keeping it in context is essential for the ride.
Director: James Williams
Producer: Arts active
Assistant producers/collaborators: Literature Wales, No Fit State, Earthfall Dance, Community Music Wales, Criw Celf
Running time: 1 hr 20 mins
(4 / 5)
Full of fun and fantasy, Chitty Chitty Bang Bang needs no introduction, rating as it does high among the icons of musical theatre. Full credit must be accorded to this production by West Yorkshire Playhouse both for the high standard of its performers and for coping with what must be incredibly difficult logistics in staging Chitty on tour, involving as it does the transporting of some large and unwieldy objects. I will say no more on this subject for fear of giving the game away to audiences who are seeing the musical for the first time.
Based on the 1968 film adapted for the stage by Jeremy Sams, despite differences between making a film and staging a musical, and the moving forward of the era in which it is set, under the direction of James Brining this Chitty has an aura of timelessness about it which spans the generations. Pure nonsense, but totally believable. At its heart is the boy meets girl romance of lonely widower Caractacus Potts, an inventor of strange machines who is struggling to bring up two young children on his own, and the delectable Truly Scrumptious. Add to the melée an aged and slightly doolally grandfather, a wicked Baron and Baroness, a spine-chilling Childcatcher and a magic car and the result is as sweet as a dolly mixture.
Lee Mead is a mop-headed Caractacus, seemingly bewildered by life but full of spunk and determination. The lyrics by the Sherman brothers are well-known, and Mead is great in the foot-tapping fun numbers such as Chitty Chitty Bang Bang which gives its name to the title, bringing an unexpected lump to the throat with Hushabye Mountain, which has the added poignancy of the vision of his late wife appearing to him as he sings.
Andy Hockley’s Grandpa, bushy-bearded and bandy-legged, is a delight, the Welsh actor being accorded a special round of applause on opening night in Cardiff. Hockley manages well the balancing act of adhering to the original character created by writer Roald Dahl, based on a story by James Bond Creator Ian Fleming, yet adding his own twist.
Carrie Hope Fletcher’s Truly Scrumptious eschews the frill and flounces of the film and opts instead for more modern attire such as jodhpur like trousers which have the added advantage of showing off her shapely form. You can’t fail to be charmed by this Truly. Hope Fletcher brings a warmth to the role which reveals an understanding of the importance of family life which is one of the underlying themes. Her singing is impeccable; outstanding in her solo Lovely Lonely Man reinstated in Act II after being eliminated from earlier productions of the stage show, melodic and perfectly balanced in the songs she sings with Caractacus and the Potts children.
That accomplished actress Claire Sweeney makes a comical and high-kicking Baroness Bomburst opposite Shaun Williamson’s perfectly petulant Baron. More comic talent in that pair of would-be villains Boris and Goran, played respectively by Sam Harrison and Scott Paige. Matt Gillett’s Childcatcher is sinister and suitably spine shivering, while Bill Coggins gives a movingly compassionate performance as the concerned Toymaker.
It’s not only the wonderful music and lyrics that make this show what it is, but the choreography. Stephen Mear’s choreography is a star in its own right throughout, whether it be the foot tapping intricacies of Me Ol’ Bamboo in the fairground scene or the exotic rhythms of the Bombie Samba in which Sweeney’s take is a master piece of send-up on its own. Skilful video effects and animation work in tandem with an atmospheric yet simple staging which changes or revolves seamlessly. As for the music – under the baton of musical director and keyboard player Andrew Hilton it well deserves the applause it receives.
So what of Chitty herself? Let’s not spoil the surprise. Let’s just say you won’t be disappointed.
Runs until 21st August 2016
Chitty Chitty Bang Bang, Wales Millennium Centre
Writer: Ian Fleming
Music & Lyrics: Richard M.Sherman and Robert B.Sherman
Director: James Brining
Reviewer: Barbara Michaels
En-route for the Edinburgh Festival 2016 – Exciting New Production from the Royal Welsh College of Music & Drama
.Fasten your safety belt and prepared to be gripped by high drama in Tom Hampson’s exciting debut play Two and One More, which opens on August 21st at Venue 13 at the Edinburgh Fringe and runs until August 27th. Members of What Might Have Been Theatre are producing and performing in the play at the venue, which is run by the college and has been providing a platform for performers and audiences to explore, create and experience some remarkable drama over the past twenty years.
Viewed at the RWCMD’s Bute Theatre during the run-up to the Fringe, Hampson’s play is set in London during the Blitz. A boy breaks into a London house and is discovered by the man living there alone. Or is he alone? What lies in the room next door? With young sector James Robert Rutherford as the young burglar, this play is guaranteed to have you on the edge of your seat.
The high standard of the productions staged at Venue 13 has seen audiences returning year after year – a critic writing in The Stage described it thus: “If there was an award for the best run Fringe venue, then this would be it.”
Roahl Dahl was a true writer of children’s fiction. He created stories of the truly fantastical that stirred the imagination of all who read them. Also he shaped simple but deep plots that could be understood but the simple thinking of children but also complex in a way that you will keep coming back to them years later. The BFG is a story about bravery and the importance of dreams.
Put simply we meet Sophie, a little orphan that is more responsible that the head carer in her orphanage. She knows that there is something that moves the London streets at night, one night she sees it for herself. A large, twenty-four-foot figure in a black robe. The figure sees her too and takes her. She is whisked off to another world and learns that she is in Giant Country. The one that has taken her is a giant but has no intention of eating her.
He will not take her back for fear she will tell people. So Sophie is in Giant Country indefinitely. And must do her best to navigate throughout this world of giant oily vegetables and host that is so large his bed is an entire ship.
The best part of the movie is the giant himself. Mark Rylance moves and is able to deliver the giants fragmented form of English with utter conviction and ease. An actor that was uncomfortable with the material would overcompensate by being too hammy, Rylance is able to speak the unique dialog with warmth, humor and even regret at times. His design is also a technical triumph. Like with Tintin the effects team are able to take the original illustrated character design and add all kinds of skin texturing and wrinkles lines to create a balance that forgoes the Uncanny Valley and more of a detailed illustration come to life.
The other best thing is Ruby Barnhill as Sophie. Speilberg has a talent for working with children, somehow he is able to communicate with them and get them to understand that material and get very solid performances out of his young stars. But there does obviously need to be talent there and Barnhill has so much of it. She is able to interact with things that are not really there and able to pull-off scared, witty and awe convincingly.
The C.G.I. is something that’s beautifully realized. There are as much practical effects in the movie as can be, but most of it is C.G.I. and it looks like a lush, vibrant painting. The sunlight shines through the the hair and bounces off skin, dreams are matter that take different shapes depending on their nature.
What else can be said about Steven Spielberg? He is one of the most acclaimed names in all of movie history. He knows the formula of how to compose a satisfying movie. Knowing how to expertly compose and light shots but also also with the story for having moments of levity, but also dark ones to balance everything out. With this new technology he is able to have swooping, intricate shots that would be impossible in live-action. As-well as that show things that would be impossible, Jumping into a reflection, having the camera follow them and then flipping one-hundred-eighty degrees when they come out the other side, for example. Though there are a few moments that seem like he just wanted t make sure the kids would laugh.
As must always come with a Spielberg movie is the music of John Williams. Williams who has so many of the greatest movie scores under his belt doesn’t need another one. But yet he does anyway. His score here heightens the mood and feel of whatever situation it plays for and ranges from scary and intimidating, bouncing and magical, and quiet and lonely.
This movie is something that children should experience. They should know that dreams and courage are important, that there are threats in this world but they can be overcome. And see images that will enrich their imagination for years to come.
15 minutes. Not 2 hours and an interval. Not 1 hour straight through. 15 minutes is all it takes to pound you with intense and thought provoking truth.
Pigs and Dogs by the brilliant writer Caryl Churchil and directed by Dominic Cooke speaks about homosexuality in Africa and across the world and what this really means. Taking influence from the Anti-homosexuality act in 2014 in Uganda, the play takes quotes and facts from around Africa and other parts of the World about tribes and groups of people that have historically delved into traditions that would be labelled as ‘homosexuality’ despite the discrimination in society and law.
Simply the production only has 3 actors on stage who take sentences of the piece one after the other and bring across characters and their quotations. The performers do this extremely well and are quick and prompt, bouncing off one another. The characters and accents change from African, to American, to British and so on. The performers are brilliant at this and despite one actor being Caucasian, there is no sense of parody or comedy in his African characters. We forget that they are actors on stage, just engaged in the intense facts and shock at the naivety and cruelty of these discriminatory people. We even feel guilt and disgust at our own history and the laws which we once had in place against others.
15 minutes is all it takes to bring emotion, fact and truth to an audience. To be able to do that, is a total triumph and extremely worth watching.
From the get go, I was excited. I’ve always liked Peter Pan and Tinkerbell, even though I tucked it away and kept it as something for myself to watch quietly on home alone days. This was strikingly different to that, and a million times more fun!
The entire thing was a wholeheartedly adorable. The whole production was truly genuine, full of love and sparks of magic all which light up the audience. Particularly the costumes. Each had a childlike charm to them, and were equally beautiful, hopefully making them more valued and appreciated by the younger people of the audience.
The actors were phenomenal. I could see the dedication within each actor and how seriously they took what they were doing. I could tell how much they wanted every member of the audience – children and young people and adults alike – to fully enjoy themselves. I could see the hard work and commitment under the surface of a perfect performance all paying off.
The actors themselves (and I hope beyond hope that I’ve got their names right from where I’ve found them, if not, please forgive me) Emily March, (who plays Peter Pan), Meg Jones, (who plays Tinkerbell), and Cadi Mullane (who plays Wendy) were all honestly fantastic in their roles. Their confidence and charm were all mesmerising.
I always have a weakness for watching characters I’m not supposed to during talking scenes, and this production was no exception. Each person I watched was fully diligent to their role, always focused and dedicated to an enthralling performance.
To be particular, firstly, I think Emily March’s performance as Peter Pan was stunning. The confidence and the sheer brilliance stemming from her words and flowing through to the audience was quite the experience. The lines were delivered with the loveable boyish charm Peter Pan has coupled with clarity. I struggle to convey my wholehearted astonishment I felt. It was incredible. Similarly, both Meg Jones (Tinkerbell) and Cadi Mullane (Wendy) provoked the same emotion. Meg Jones’ performance fluctuating between speaking to the audience or speaking in ‘bells’ was well done and enjoyable. Her acting altogether was delightful. Lastly, Cadi Mullane’s acting was just as exquisite and fun, full of love and joy.
One thing that was truly incredible was the singing. All of it was honestly dazzling. Coupled with dancing which was amazing by itself and true talent, I was left very, very impressed. The day was a fun day out, and something I’d recommend to families and friends alike if today hadn’t been the last showings. If it ever returns, I will hope for the chance to see it.
All in all, I give it four stars, as it was a truly wonderful production which I wholeheartedly enjoyed and would gladly see again.