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Theatre

Review We’re Still Here, National Theatre Wales by Kevin Johnson

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Over a year ago Port Talbot steelworks were put up for sale by Indian owners Tata Steel, threatening not only thousands of jobs but the future of the town itself. What followed was a campaign to save the last part of heavy industry in South Wales by people from all walks of life.

Rachel Trezise

This story has now been turned into a play by Rachel Trezise, in collaboration with the National Theatre Wales and Common Wealth Theatre Company. Set in an old factory that was once part of the steelworks, this is promenade-style theatre, where you ‘wander through’ the play and it happens around you. There are seats if you need them, and good disabled access, but at around 80 minutes, the play is brief enough to endure, yet long enough to shock.

Sam Coombes (Lewis)

With a core cast of five including real-life steelworker Sam Coombes as Lewis, this is both spacious and intimate. The cavernous building is juxtaposed with the intimacy of the workers, who tell their stories, and confide their fears, amidst the jovial banter. Also roaming among the audience are actual retirees, who share true stories about the works, and the oft hidden cost.

Jason May (Rob), Siôn Tudor Owen (Mark) & Simon Nehan (Kevin)

In the interests of full-disclosure I should mention that I was born here, and as a local the steelworks have always been a big part of my life. As one of the actors says:’if you can smell sulphur in the air, somebody’s getting paid’. Both my parents worked there, so in a way it paid for my upbringing. Steel is in our blood here, and with so many accidents over the years, our blood is certainly in the steel.

Designer/Dylunydd Russell Henry, Choreographer/Coreograffydd Vicki Manderson, Directors/Cyfarwyddwyr Rhiannon White & Evie Manning

Co-directed by Common Wealths Evie Manning & Rhiannon White, music, song, comedy and monologues are used to create an enthralling and fascinating piece of theatre. Watching so many people coming to my ‘home’ to be entertained, gave me such a feeling of pride.

This threatened closure is the latest in a long line of body blows that have hit Port Talbot, brought home by the scene where the names of some of the 750 already made redundant are read out. A litany of damaged lives, counterpointed by the children the workers can’t see, ghosts from a lost future.

Sam Coombes (Lewis)

This isn’t sugar-coated either. At one point, in a gladiatorial arena of chairs shared by cast and audience alike, grievances are expressed with a violent passion. Characters turn on each other, unsure of the best course of action to take. One blames the union organiser, who then quietly reveals that his marriage has become a hidden casualty of the fight.
That’s a key element here: how long do you keep on fighting? When do you know when the cause is lost? What if all you have left is the struggle? The whole play roars a magnificent defiance at the world, but beneath that you can hear the scream of a wounded animal.

Ioan Hefin (Adrian) & Jason May (Rob)

If the steelworks closes it’ll be devastating to the town and its people, should that be allowed to happen? I’ll give the last word to Dic Penderyn, a local martyr hanged for rioting in the 1830’s, who’s last words on the scaffold are quoted in the play:
“O arglwdd dymma gamwedd, O Lord, what injustice.”
http://nationaltheatrewales.org/were-still-here

Theatre

Review Us Proclaimed/Clywch Ni, Mess Up The Mess, Wales Millennium Centre by Kevin Johnson.

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Aged from 11-20 plus, Mess Up The Mess Theatre Company make ‘awkward and brave theatre by, for and with young people’. Their new show ‘Us Proclaimed/Clywch Ni’ features over a dozen actors at the Wales Millennium Centre, Dance House.
It starts with a line up of the cast, who then turn their back on the audience, before assembling in a series of ‘scales’: alphabetically by first name, surname, home, then things start getting more honest, revealing, and then raw.
They line up in scales of sexuality, gender, feeling anxious, optimistic about the future, all while explaining what THEY think, stripping away the hypocrisy of the ‘real’ world, and showing us what’s actually real to them.
The honesty of this cast is humbling: personal stories, personal feelings, personal ‘secrets’ even, are not just divulged but proclaimed. Sometimes in simple words, sometimes with songs, or even comedy.
My personal highlight was young actor Ciaran Fitzgerald with cerebral palsy wearing a T-shirt stating ‘I don’t have cerebral palsy, I’m drunk’, explained later when he recounts being refused service at a pub because the barmaid thought he was drunk.
Perhaps a little blunt at times? I’m not sure, sometimes bluntness is called for. ‘We don’t want to preach’ they sing at the start, but they certainly make many good points.
Above all else they are wary of the future, some are worried but most are positive. Having seen – and more importantly listened – to them, I’m feeling a lot more optimistic about the future myself.

Film & TV

IT Review

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“I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify I’ll go for gross-out. I’m not proud.”

-Stephen King

out of 5 stars (3 / 5)
Stephen King is author that has one of the most loyal and enthusiastic followings of nearly any writer in history. His fans obsess and devour his books, so no wonder why he is also regularly adapted to the screen. There are many shoddy productions of Stephen King material. This is well produced at the least. You can tell that from the clear images and the visuals and detailed production value. But does it succeed in and kind of engaging horror?

IT tells the story of a small town called Derry in the eighties where it seems Norman Rockwell’esque, however people are going missing, mostly children. Only a handful of children are catching onto the pattern that there always seen the same demented clown appears and they unite in solving the mystery.
The children are Bill (Jaeden Lieberher) who has a stutter and is very determined to solve the mystery because a year ago he lost his brother Georgie to the clown. Ben (Jeremy Ray Taylor) is the new kid in school as well as being overweight so he spends time in the library. Richie (Finn Wolfhard) is the wisecracking comedy relief who’s jokes don’t always land but he keeps trying. Eddie (Jack Dylan Grazer) is the timid, germaphobe who is the one to suggest that they don’t go into the scary places. Mike (Chosen Jacobs) the only black youth in the whole town and has suffered hardships of being an outsider. Stan (Wyatt Oleff) who is the most logical one, believing in facts and rational and second guesses all the supernatural elements. Finally there is Bev played by Sophia Lillis, who is by far the best talent in the movie. She is able to encapsulate all the fear, confidence and insecurities within this one character. I hope to see her go onto more things.
Until now our only personification of Pennywise the clown was Tim Curry in the miniseries. That was a fun performance but only in the sense that it was an actor going all out with not restrictions. Watching it now as a fully grown adult, you’ll probably be entertained but doubtful be scared. Now Bill Skarsgard is under the makeup, he also goes all out in his performance, however there are delicate touches of control here, adding glimpses of his sinister intentions through bouncy clowning. Also aiding in the overall terror of his performance are some genuinely creepy ideas of what to do with him (none I shall spoil). Finally he comes with much more convincing special effects this time around.
King is a writer who has developed many reoccurring cliches within his work (IT has more than a few). But the one I want to focus on is the way too mean and soulless portrayal of bullies. The bully here is a boy names Henry (Nicholas Hamilton), a complete psychopath that must be a bully, it is his desperate role in life. This is over-the-top and quite frankly unbelievable,
Just like in A Cure for Wellness, Benjamine Walfisch delivers a melodic score that starts as whimsical childhood and then drifts into demented screams. Much like Bernard Herman in Psycho for the main moments of fright he cuts out all other instruments and just uses the strings, creating high-pitched shrieks.
As of this point of writing this review I have never read a Stephen King novel. However from what I understand of his prose they have great ideas and are engaging page turners. However they also are very wild and don’t lend themselves to being put to screen because of an idea that would work while reading it might not be so brilliant when is actually visualised. As for what the book is like I do not know, but they seem to have run with the idea and added and changed elements to make them better suited for the medium.
Whilst there are moments of genuine frightening material in here there are other moments when it goes too far and it’s just the movie yelling at you. Though for the moments of the children being children and the moments of fright they are very much worth it.
 

Musical

Review Crazy For You, UK Tour by Vicky Lord

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out of 5 stars (4 / 5)
 
This week I embarked on something new. I went to see one of my mum’s original favourite musicals. Crazy For You is considered to be ‘the last of the Gershwins’ light hearted musicals’ and started life over 80 years ago, first appearing in the 1930s. After a lengthily history, including a name change from Girl Crazy, Crazy For You opened on Broadway in 1992 and has now been revived in the UK for a brand new, star studded tour which started in August 2017 in Plymouth after a run at The Watermill Theatre in July 2016.

My mum originally saw this production with my Grandmother when Ruthie Henshall performed the part of Polly and she was very excited to relive the experience at one of my favourite theatres, the Wales Millennium Centre in Cardiff. However, I went into this production completely blind. I vaguely knew of a couple of the songs but I knew nothing of the story or setting so I was interested to see what I would make of a ‘traditional’ musical considering that my taste mainly draws me to shows like Wicked, Jekyll and Hyde and Phantom of the Opera.

Despite going in blind to the story of this show I was certainly familiar with the cast. Tom Chambers plays the enthusiastic, lovelorn dancer Bobby Child who spearheads the effort to save a theatre from his mother’s bank. Chambers’ performance in my opinion encapsulates the heart of the original production of Crazy For You. He does this through his outstanding tap dancing and his comedic timing, which is vital for this script as it holds so much humour, had me laughing from start to finish. He feels so authentic in this part that I truly can’t imagine anyone else playing this role.
Despite being the leading man, I feel that Tom Chambers was accidently overtaken by his leading lady. Charlotte Wakefield, coming from a successful touring stint as Truly Scrumptious after taking over from Carrie Hope Fletcher in the UK tour of Chitty Chitty Bang Bang, stole the show from all of the other principles in my opinion as she demonstrated that she can sing, dance and act as the head strong but sensitive Polly Baker. I only wish that there were more opportunities to hear her wonderful belting ability. Polly was by far my favourite character in this show and Wakefield is, in my opinion, the perfect actress to bring her to life. I would recommend this show to anyone simply to see Wakefield’s performance alongside Cambers.

However, Polly highlights the one fault I have with Bobby’s characterisation within the show. During songs such as ‘Someone to Watch Over Me’ and ‘But Not For Me’ the audience are treated to an in depth look into Polly’s thoughts and feelings which gives her depth as she reviles that her inner self is more sensitive than her tough exterior. On the other hand, I feel that this insight is missing from Bobby’s characterisation. This absence is mainly felt during ‘Nice Work If You Can Get It’. Prior to this song, during the New York Interlude, Bobby is given the New York theatre. This song shows Bobby’s realisation that he really wants to go back to Hard Rock and Polly and at the end he rips the deed to the theatre to shreds. However, his specific desire to give up the theatre seems strange as it is only his love of Polly which is referred to throughout the song. Considering that all Bobby wants to do is dance and his possible conflict between owning the theatre and chasing his love seems underdeveloped here.

Caroline Flack is another star name heading up the cast as Irene Roth. I was not surprised at all to see her name on the cast list given her dancing experience shown on Strictly Come Dancing. She also sat in the centre of Irene’s character as a spoilt, demanding fiancée to Bobby, despite some sketchy details as to how she actually gained that title. However, I simply wish that her character was given more detail and bite. As I said, the details of how she came to call herself Bobby’s fiancée is sketchy so I would have loved to have seen that story be given far more discussion in the show as both Bobby and Irene switch from lover to lover throughout the show. Irene’s lack of detail and bite are combined in Irene’s relationship with Lank Hawkins. I was expecting them to become a couple in a plan to scupper Bobby and Polly’s attempts to save the theatre and this plot point is actually referenced by Irene but then it simply disappears. The two do eventually get married but their reasoning and Lank’s threat to the theatre are phased out completely. This was quite disappointing for me and I was sad to see that it also seeped into Flack’s performance of ‘Naughty Baby’. In this number Irene seems to shift from hating Lank to wanting him quite randomly simply because her intentions are not mentioned. This did not provide Flack with any opportunity to put some real intention into this song and her singing and even dancing seemed a little flat and soft, which did not fit with the cunning, sharp nature of the song.
I have saved one of the best aspects of this production for last. The ensemble is incredible. I cannot overstate how talented they are. Not only do they all sing, act as individual characters and obviously dance to the level of Tom Chambers and Charlotte Wakefield but they also are the orchestra. Each member of the ensemble plays multiple instruments throughout the show with no sheet music present, ever. This astounded me and I loved this original iconic aspect of the show. I must admit that this was slightly distracting during some songs because all I wanted to do was watch the violinists but there are plenty of songs where they are fully integrated into the staging. This production shows a true collaboration between Diego Pitarch’s set and the ensemble’s function as the orchestra. I loved the theatre set piece as it moved between the two locations of the show but it also fully integrated the instruments into the piece. The set and lighting add another level of polish to this production.
Overall, I had a lovely time seeing this show and I would give it four stars. The comedic script is right up my street and the gorgeous sets and lighting highlighted the dance aspect to create a treat for the eyes. While I feel some aspects of the story and characterisation could have been improved, the true stars of the show, Charlotte Wakefield and the ensemble acting as the orchestra, truly blew me away. I’m so happy that I had the opportunity to try out this intriguing production and to give my mum the chance to see one of her favourite shows brought into the 21st century of theatrical production.
Crazy For You, Wales Millennium Centre, Cardiff.
05 Sep – 09 Sep 2017
Starring Tom Chambers, Caroline Flack and Charlotte WakefieldTickets: £17.50 – £49.50 (£19 – £51*)
Age Guidance: 6+ (No under 2s)
Running Time: approximately 2 hours 35 minutes including an interval
 

Theatre

Review Swarm, Fio Productions by Ann Davies

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The rendezvous was made; a meeting with others. The night was dark and dank as the drizzle stormed down on our gathering. Black Gothic gates barred our entrance to the large stone building. We waited patiently. We were all strangers, curious about what lay ahead. We didn’t know just what to expect.
At last, the clanking sounds came of the gates being opened; we were told to assemble in straight lines. It was almost as though we were awaiting some sort of detention duty. A loud cry went out as another person came scrambling out of the darkness crying “My child, please see to my child” as uniformed personnel rushed around, issuing orders for us to enter asking questions “Were you followed? How many? Are there any more?” “My wife, my child” were the only words that the man managed to utter within his sadness. Lost in explanation, a large door began to open to a warehouse type area; as one, we were herded into its vast inner sanctum.
Slowly, we became aware of our surroundings. We came under an incredible amount of scrutiny from a multitude of people, and saw children huddled together in one corner, as if afraid of our arrival. “We have a few supplies and blankets, please share the blankets” the voice on the speaker announced. Some people came forward as if on a welcoming bid, imploring details about the outside. The man and child were rushed to an enclosed area with a Red Cross embellished on it.
“For fear of disease” the voice continued “you will have to be examined. Your photograph will be taken, a detailed form will need to be completed; you will then be assigned a number “.
The air was stifling; people were talking wildly about their relatives and whether anyone of us knew anything about them. Hands were inspected and washed; we were each issued with toiletry samples. The siren shrieked shattering our thoughts, as the lights dimmed
“Get down and remain still!” the urgent command drilled.
We all lay prone on the hard floor using the blankets provided.
Repeated blows on the door followed as security personnel entered, they were looking for certain people, but received only a stony silence. A child cried out in pain “There is nothing we can do” a medic announced as the man walked aimlessly around.
Fear held us in its grasp. Notices on the wall were adorned with desperate messages; missing people cried out to be found. You could almost reach out and touch the growing mania of panic and distress of what we were all witnessing.
This was an experience that we had not only watched; we had participated in a human drama.
“You’ve got a swarm of people coming, seeking a better life” A play had been performed but we were also the actors, the performance may disappear but the crisis of the refugees would not go away. It was an experience driven by conflict, of painful human reality of what is actually happening. The play was called ‘The Swarm’; the company were the Fio Productions and it was staged at the Pop Factory, Porth.
It was not a tale of the unexpected. At its conclusion it was a diverse platform for the further discussion of ethical and political issues.
The truth hurts.
 

Musical, Theatre

Review: Hairspray, Wales Millennium Centre – By Eloise Stingemore

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out of 5 stars (5 / 5)
Hairspray is back and bigger than Tracy Turnblad’s hair. It’s louder than the Corny Collins show at full volume. It’s a big bouffant of a musical!
Set in 1962 Baltimore, Tracy Turnblad, a big girl with big hair and an even a bigger heart, is on a mission to follow her dreams and dance her way onto national TV with The Nicest Kids In Town. Tracys audition not only makes her a local celebrity, she sends sales of Ultra Clutch Hairspray through the roof and bags local heartthrob Link Larkin. However, when Tracy uses her newfound fame to fight for equality, it puts her at loggerheads with Velma Von Tussle the producer of the show but also mother of the show’s “star” teenager, Amber Von Tussle, jeopardising her place on the show and her freedom.

From the opening vamp of “Good Morning Baltimore,” to the final chorus of the finale, “You Can’t Stop the Beat,” the shows score a mixture of bubble-gum pop to rhythm and blues is irresistibly catchy. Rebecca Mendoza shines in her professional debut as Tracy whereas Edward Chitticks plays Link Larkin with the right amount of cool that manages to capture your attention and make your heart flutter every time he is on stage. As for Layton Williams who is best known as Stephen Carmichael in the hit BBC Three show Bad Education, he presents a dazzling array of dance skills all whilst crafting a touching relationship with Liard-Bailey’s Penn. However, it is the coupling of Mat Rixon and Norman Pace as Edna and Wilburn Turnblad that gives the show a fantastic comic spark. Their duet of “Your Timeless To Me” was delivered to perfection and Pace body language had the audience in stitches, which makes it shame that the audience saw so little of the two together during Kerryson’s production.

The show features an impressive variety of costumes by Takis from the fabulous ’60s fashions Tracy and Edna get from “Mr. Pinky’s Hefty Hideaway”, to Corny’s comical red sequinned suit, and, of course, the giant hairdos sprayed with the titular product. However, Takis’ reliance on a projected backdrop to capture the Civil Rights protests meant at times the stage felt slightly bare but nevertheless did an excellent way of demonstrating the two sides to American society at the time.

Hairspray is full of colour, soul and free spirit that defined the 60s. It is the ultimate feel good show and judging by the amount of smiles in the foyer as people left the venue they didn’t want the beat to end.

Hairspray opened in Cardiff on August 16, 2017, with a tour around the UK until June 2018. Tour dates and ticket information available can be found here: http://www.hairsprayuktour.com/tour-dates/
 
 
 
 
 
 

Museums & heritage, Music

Get the Chance to be a music journalist at this years Sŵn Festival.

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Are you aged 14+?
Interested in brilliant contemporary new music ?
Want to Get the Chance to see and review Songhoy Blues, Aquilo, Jen Cloher, The Amazons and loads more amazing artists at this years Sŵn Festival?
Want to access a free workshop which will give you an insight into the role of a music journalist?
Then, this is for you!

 
What’s involved?
You will take part in a 2 hour workshop with Guy O’Donnell Director of online magazine website Get the Chance at a venue to be confirmed.
You will need to be free to attend a range of performances during the festival.
To apply contact Get the Chance director Guy O’Donnell at getthechance1@gmail.com. All applicants need to be aged 14+
Here is a link to more information on this years Sŵn Festival
http://www.swnfest.com/presents/

Literature

Review: Wax by Gina Damico by Sian Thomas

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Even though I’ve read a lot of books this year (we’re into the 20s, I think), and even though I have a lot more books to read (I have 21 in my room, but reading all the books out there would be stellar, too), I think I’ve found the best one this year. My favourite one for this year. My favourite one, possibly overall? The first book that might have just overtaken all the others that I love. Wax by Gina Damico swept me off my feet, and I couldn’t be happier.
One of the most remarkable things about this book is that it’s so funny. There were so many times that I genuinely laughed at what was happening – and that was new for me. I’ve smirked or smiled while reading before, sure, but I’ve never had to take a step back, put the book down, and have a right giggle before building myself back up and carrying on. The main characters Poppy and Dud erupted the most laughter from me, but a close second being the character ‘Jesus’.
All the characters were remarkable. My favourites no doubt being the main, Poppy Palladino and Dud. I can’t get into the relationship or their dynamic too much without spoiling it, but I did love the outspoken female who acts sort of like a role model or confidant, and harmless boy whose loyal to her. They felt like best friends, and reading their interactions were always great.
I love stories lately where most (if not most, then all) of the characters end up okay, with a happy ending. I got so tired of studying Shakespeare plays and watching all the characters die in the last few scenes, I got so tired of tv shows that were “going there” and killing off main characters, I got tired of books with “twists” that just kind of stung, and didn’t impress. In truth, I got real sick of characters dying, and it isn’t like I can reach the authors I’ve read lately, shake their shoulders, and tell them there are other things that can happen in life, and I’m so glad I didn’t feel this way at all with this book. The ending reminded me a little of Big Hero 6. Bittersweet, but still ultimately happy. With and without death, I suppose. You have to read it, to know what I mean, and so I don’t spoil everything horrendously.
I remember looking at this book and thinking it was a horror. I don’t remember why, it was a long time ago, and it sat in my Amazon wish-list for a really long time before it came into my hands. I think I noted the idea of spooky wax figures and was sold, because at that time I was super interested in getting spooked by a book. Even if that was my initial reaction, and was not the outcome, I’m glad of both. I’m glad I (somehow, even if the memory of how is blurry) found the book, and that I read it. I read one chapter yesterday, and the rest of the book today. I blitzed through it immensely fast because it was just so immeasurably enjoyable.  I’ve read the last two chapters a couple more times, now. I just love it so much. I am not sure anything else I read will come as close to how highly I think of this book. Which is both good (I found a new really great book!) and bad (I have so many other books to read and I am worried that they will not be able to come as close to how good Wax was). But nonetheless I give it five stars and recommend it wholeheartedly. It was so good. I don’t even have the words. I want to read it all over again.

Music, Theatre

Review: Burning Lantern Fayre, St Fagan’s – By Eloise Stingemore

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out of 5 stars (5 / 5)
 
Burning Lantern Fayre was the heritage attraction’s first large scale music event. Over 8,000 people descended on the country fayre styled event set in the picturesque grounds of St Fagan’s National Museum of History, Cardiff one of Europe’s leading open air-museum on a sunny albeit chilly evening.
With big names live on the main stage from the moment the gates opened, street food (Cavavan, The Grazing Shed, Taste of Spice and Dusty Knuckle), a crafts and activities tent, storytelling, a children’s entertainer, circus skills, pony rides and a vintage funfair. It is safe to say that no one was bored or hungry at the inaugural Burning Lantern Fayre!

Performances came from headliner Brit and Ivor Novell award winner Tom Odell, who gave an electrifying and charismatic performance, which featured a mesmerising light show. His unique show featured a number of hits but it was the songs ‘Still Getting Used To Being On My Own’, ‘Concrete’, ‘Hold Me’ that captivated the audience and really demonstrated why Odell is being touted as one of the country’s finest singer songwriter.

Whilst the UK first country music act to chart in the Top 10 Album Charts, The Shires, livened up the billing. Their 45-minute stellar set included a string of their biggest hits including: ‘Daddy’s Little Girl’, ‘Nashville Grey Skies’ and ‘Friday Night’, thoroughly entertained the 8,000 strong crowd and signed off their set with a promise to return to Cardiff soon.

Whereas top Motown act, Martha Reeves & The Vandellas, despite not being everyone cup tea where given a true warm Welsh welcome. However, it was hot act of the moment Jack Savoretti that brought the biggest cheers of the evening and his set went down a storm. His live set included performances of his many hits including; ‘When We Were Lovers’, ‘I’m Yours’ and ‘Tie Me Down’, certainly got the crowd in the festival mood as the sun set on the stunning location.

The first even Burning Lantern Fayre was a huge success with the 8,000 strong-crowd enjoying a variety of music, entertainment and food under the sunset skies. Here hoping that the buzz of Wales’ newest music event hopefully ensures it was the first of many Burning Lantern Fayres to come!

Uncategorized

Review: The Adventure Zone by Sian Thomas

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The podcast, The Adventure Zone, has just recently finished it’s first ‘season’, so to speak. This is a podcast wherein three brothers, Justin, Travis, and Griffin McElroy and their father, Clint McElroy, play Dungeons and Dragons (loosely following the rules, as the podcast becomes less about the game and more about the stories entwining the characters they created). It’s a new, innovative, and interesting approach to storytelling which I look forward to seeing progress and become more prominent in the years to come. Although there are other storytelling podcasts (such as Welcome to Nightvale, Alice Isn’t Dead, or other Nightvale Presents podcasts) they don’t include adventure-esque games to propel and support their story. I really liked how the DM, Griffin McElroy, utilised this game and even deviated from it to better support his campaign. A great aspect of using it was a non-imposing introduction to the game. I know that many people don’t have an interest in the game or have a negative perception of it (I did, too), but because the podcast only hinges on it slightly (i.e. for battles or checks in ability, etc) it isn’t distasteful for those of us who didn’t think we’d ever like it. Besides, the elements of the game fall behind eventually, as you’re swept up in the story and with the characters.
The story itself is incredible. It’s something I can’t quite describe without pouring out the whole plot and every little secret and nook and cranny of the intrinsic campaign. But, without a doubt, it is the most enthralling and attention-grabbing story I’ve ever lived through. The end even includes wonderful closure (and a long “where are they now?” segment which soothed me spectacularly. Closure in stories is always wonderful, neat little bows to end a story and give it that perfect finish is something I always have, and always will, appreciate).
I don’t think I could begin to describe the staggering depths of my genuine love for this podcast, story, and characters. I don’t think any words I might have in my mouth could tell anyone about what it means to me. The simple fact that I could listen to this podcast in bed and picture it so vividly and individually unfolding before me was the most wonderful thing, that fit me to a T, and made it that much easier, is the closest I could get, so at least people can know how I came to love it, and so maybe they could, too.
Aside from the main three characters, there were a multitude of NPCs I shamelessly fell absolutely in love with. Even better, as the finale reached its conclusion, the brothers McElroy and their father were sure to include as many as possible, and the thrill of seeing old favourites sparked anew is irreplaceable and always feels amazing. The lengths that these four went to to simply include as many characters as they could to make others happy to see their return was phenomenal. I’ve never seen creators so open to their fanbase, and so willing to listen to them, too. They were considerate at every corner of this story, and that’s something I look up to. Some of my favourites is Angus McDonald (a young boy detective), Lucas Miller (a scientist), and NO-3113 (a robot). I can’t explain them too much without giving things away, which I really want to avoid doing, just in case anyone does decide to start up and listen to this podcast, but these characters, among others, are
The Adventure Zone even incorporates a fully-fledged soundtrack (https://griffinmcelroy.bandcamp.com/ / https://soundcloud.com/griffinmcelroy) which is honestly incredible, and something I love listening to in my day-to-day, or on my commute. I’m listening to it right now, as I write this.
I was waiting for the arc of The Adventure Zone to fully wrap up before reviewing it, and now that this part of it has ended I’m equal parts happy (so happy, it was such a thrill, I’ve never loved a story so much) and sad (I’m going to miss this arc and these characters a tremendous amount), but it is, honest and truly, one of the best podcasts out there, I think.
More technical information can be found at: http://mcelroyshows.com or http://www.maximumfun.org/shows/adventure-zone and this can also provide a place to listen to the podcast. It could also be found on iTunes/the podcast app on Apple phones, or anywhere else podcasts can be housed. I gave it five stars because I can’t recommend this podcast enough, I enjoyed it so thoroughly and so heartily that every day I am immensely grateful that it was brought to my attention. I don’t think I could ever sound objective about this podcast no matter how hard I tried because it just swept its way into my heart so easily and so strongly, and I’d let it every time. It’s good. That’s all there really is to it, for me.
I will say, in case anyone does pick up this podcast, the McElroy’s voices are hard to distinguish as first (or at least, I struggled at first), although it does get easier. However, I didn’t want to waste time listening to a story-based podcast and being confused and missing crucial start-up points, so, I recommend listening to a few episodes of the McElroy brother’s podcast, My Brother, My Brother, And Me first (http://www.maximumfun.org/shows/my-brother-my-brother-and-me) as to avoid this issue.