Tag Archives: Review

Review: Just A Few Words by Stammermouth by Sian Thomas

Yesterday I attended my first official 2018 Fringe Festival event, knowing based on last year and based on the Fringe Cafes that I would have a wonderful time – and I did. This festival already means quite a lot to me, so to be able to kick off its return again this year was a very visceral feeling that was nothing but positive. I was excited, and I was ready to go in straight away.

Just A Few Words was a show that I wanted to see because every aspect looked appealing; seemed short and sweet, seemed like the venue was in a good place, seemed like it was going to be funny with a quietly serious undertone – something I would realise later in the night the Fringe seems good at picking up. That alone was nice, a story with laughs and jokes layered thinly over something a little more hearty and gripping.

My first thought when watching the play was that there was a lot of realness to it. The talent and skill on stage was real and easily spotted; good techniques like idiosyncrasies and a swing in moods that rose the audience up and settled us back down in the right places for the mood. I value that a lot more than I think I really did; the ability to really touch my heart with a script and a practiced performance rather than having it just be “oh, I saw a play.”.

A really fun medium was used, too! One I haven’t experienced before. The Fringe must do this well, too, as I have fond memories of a fun medium used in Stories Of The Silver Tree from last year. This one, rather than audio, was cards. Things the audience could read, that played well as jokes and dialogue and what felt like a whole other character. It was different in a way that suits the Festival well; new and upcoming and hopefully does well for itself. An interesting take like this deserves to go further than what was our little theatre and a charmingly mismatched set of chairs and church pews. There was also audience participation! Which was sprung on me and terrifying (two things it always seems to be), but as it was pushed more and more I got a little more into it (and a lot more thankful for whoever was more confident than me and could lead me into it). I never expect audience participation to be singing, also, but there we all were: chiming in and harmonising and then some. The show had a nice runtime (just an hour! An easy thing to give) which made me see how the Fringe isn’t demanding of its guests. Everything is lax, and feels safe. The atmosphere at these events always feels good, and I always feel a little bit more included and integrated into the theatre scene when I go, so I’m excited to keep going! All in all, the evening had a wonderful vibe to it. A good feeling of artsy-ness and a good balance between safety and trying boundaries. After all, the story seemed to show that: trying fervently to say ‘I love you’ when the stammer itself prevents that and it’s easier to say nothing or to talk how you already know to.

I had fun, at the end of the day. I really did enjoy myself there. I know these reviews are important because feedback always is and I cannot hammer home hard enough that my feedback is positive and I hope with so much of my heart that these kind of plays and these kind of events never worm their way out of our lives. They’re important, and they make me happy. I’m giving it five stars, and I don’t think that’s a surprise.

There are so many more events coming over the two week period of the Fringe Festival, and I’m already excited for so many of them now my own attendance of it has finally truly kicked off! My next will be Live Show #1, at the Sherman Theatre, and I’m looking forward to it and going in with high hopes I don’t think will be dashed any time soon!

http://www.cardifffringetheatrefestival.co.uk/shows-tickets/ 

Sian Thomas

Review: ‘People – Picture – Power – Perception’ by Gareth Ford-Elliott

(3 / 5)

 

With ‘People – Picture – Power – Perception’ (PPPP), Avant Cymru set out to explore what Welsh Hip-Hop theatre is and to showcase the hip-hop talents of Wales at the Chapter Arts Centre as part of the 2018 Cardiff Fringe Theatre Festival.

As the title suggests, the piece portrays people, gives them the platform to show their picture, which gives them the power to change the perception surrounding hip-hop. In the mainstream, hip-hop is portrayed as specifically rap with themes of drugs and gangs. A major worry when attending this performance was that it would be too much like this. I have had experiences with Welsh hip-hop before and it has been limited to that field.

However, Avant Cymru do not fall into this trap. If you’re not aware, allow me to give a very brief history and explanation of hip-hop culture. Hip-hop culture consists of four main art forms known as the four pillars of hip-hop; emceeing/MCing (rapping/singing/spoken word), DJing (beat production, beat-freestyling, beat-boxing), breaking/break-dancing and graffiti art. It started in New York and has grown into the one of the biggest art movements in the world.

Jonzi D, a pioneer of hip-hop theatre, was told at his dance school, “Hip-Hop is not valuable for the theatre,” before going on to define what British hip-hop theatre is, with the help of people like Akala who created the Hip-Hop Shakespeare company. And now, we have Avant Cymru attempting to do the same in Wales, with specifically Welsh artists, Welsh voices and Welsh themes.

Starting with the DJing, mostly produced by Jamey P, the beats used for ‘PPPP’ are exceptional. The production is one of the outstanding elements of the show. The production always fits, sounds incredible and even when left to stand alone is enjoyable.

Beatbox Hann performs his championship-winning beatboxing skills very well. His accolades and CV speak for themselves, but here he showcases real talent. Understanding when to blend into the background and when to come to the forefront.

The stand-out section of the show is a piece between Hann and breaker, Bboy Flexton (James Berry). It starts with Flexton sat at a table, whilst Hann starts creating a beat with his vocal chords. He mixes this together on what appears to be an MPC of sorts, so each sound loops and eventually builds into a beat. Eventually, Hann turns the beat off and starts beatboxing on his own.

Whilst this happens, Flexton starts to break into a dance. At first it isn’t exactly clear what is going on but as the dance progresses we see Flexton appear to hold a gun to his head before wrestling it away. This collaboration of beatboxing and breaking works very well and appears to portray a kind of suppression of violent outburst and possibly suicidal thoughts. It certainly would be interesting to see a slightly extended version of this.

Moving onto the breaking, and Flexton pops up again, portraying an aggressive nature. However, Flexton is the only breaker that seems to portray a specific type of character. This is not a fault of the breakers themselves, at different times they all proved themselves to be talented dancers. It is more a fault in the choreography and direction of the show. The expression could have been more clear at times. It will certainly be interesting to see the difference between this show and Avant Cymru’s upcoming ‘Blue Scar’, another hip-hop theatre show with more of a set story.

The emceeing is of a very good standard. Occasionally repetitive, but very good at getting the point across. Rufus Mafasa, Maple Struggle and Jamey P all perform well. The themes do jump around a little bit, but the lyrical content, delivery and flow are all strong. The highlight is Maple Struggle’s song, Quit Mooching, which starts with Maple Struggle getting left with the bill after a date before breaking out into a song about his perception of how some women will use men as well as general materialism.

The graffiti used in the performance is minimal. The piece as a whole could really capitalise on the art form better. There is a stylistic writing of the piece’s title on a screen off to the right of the stage and on a screen at the back of the stage, at times are pictures and moving pictures of graffiti. However, even sitting at the front it was hard to make out exactly what the graffiti was and certainly wasn’t used as well as it can be. The simple set worked well, but could do with more graffiti.

The main theme of the show is gender which is explored thoroughly. Toxic masculinity is portrayed particularly well by Bboy Flexton with the aggression as well as suicidal thoughts. An issue very specific to toxic masculinity and very important in the South Wales region. Rufus Mufasa also had powerful moments of feminist lyricism and generally portrayed herself as a powerful woman. Some of the breaking could be more clearly focused on this theme.

As far as is it worth seeing? Yes, it is worth seeing. It’s not the most rehearsed piece of hip-hop theatre or the most concise. But in terms of exploring what Welsh hip-hop theatre is, it is pioneering. If you’re a fan of or are involved in hip-hop then definitely see this if Avant Cymru ever bring it back. If you’re not into hip-hop, then I recommend seeing this for a positive introduction to hip-hop.

After the show there was a bit of a freestyle from those involved and some from the audience and the feel of community this gave off was beautiful. As a hip-hop fan, it was great to see the true power of hip-hop community shine bright.

As this was a once-performed show with no known future dates, go and check out Blue Scar by Avant Cymru at the Park & Dare Theatre in Treorchy on July 12th and 13th and at the Edinburgh Fringe Festival. Much of the same cast will be involved and the preview they gave at the end was very good.

Info:
People – Picture – Power – Perception’
Chapter Arts Centre, Cardiff
31st May 2018
By Avant Cymru
Directed and Choreographed by: Rachel Pedley, Tommy Boost and Jamie Berry.
Music From: Maple Struggle, Rufus Mufasa and Jamey P.
Set Designed by: Unity (Amelia Thomas).
Breakers/Dancers: Rachel Pedley, Bboy Flexton, Tommy Boost and special guests (uncredited).

Review by: Gareth Ford-Elliott

Review Cardiff Fringe Theatre Cafe by Sian Thomas

I went to a handful of Fringe events last year, and I was very efficiently swept up into that kind of theatre world. The Fringe Cafes, as well as the majority of the Fringe festival events themselves, have a very specific kind of feeling to them. One that I firstly associate with summer, since that’s when the festival really kicks off, and another that’s associated with quiet fun.
Not too jam-packed, and neither too empty that it could be kind of awkward, last night’s Fringe Cafe managed to achieve a really good balance and really open a door to a good night in a room full of people who were minded like me; who love theatre and jokes and that same quiet fun.

The night consisted of two acts and a quiz. The acts were good; performed well and low-key, the kind where there was no shame in flubbed words or coughs and honestly, I really liked that. It ties back into the vibe of the festival; it’s safe, and there’s a supportive feeling all throughout it. I was more partial to the second act, though. Both were monologues, but I did have more fun listening to the second. Something about it was a little more accessible; the trials of dating and trying to have a good time except you don’t have any money. I enjoyed it!

Admittedly, the quiz was my favourite. It made me the right kind of nervous when answers were being called out, and the right kind of excited when prizes came into the picture. It was fun to take a break; to enjoy the time with who I went with and be posed questions I definitely did not know the answer to at all, and ended up guessing (we still won a prize though, which was nice!).
I had a really great night; I enjoyed myself a lot and I was so glad I went to experience this last Fringe Cafe before the festival really kicks off!

I’m so sincerely looking forward to the rest of the events I can attend. I had an astounding time last year and I’m already sure I’ll have a brilliant time this year, too. This festival very quickly became very meaningful to me, and based on last night, I’m sure that’ll stay the same for this year.

I’m particularly excited for the open mic night at Deli Rouge on June 10th. I went to this event last summer and had such a wonderful time and it was there that my confidence had a huge boost. I’m very indulgently hoping that the same will happen this year, and I’m looking forward to hear the kinds of things people have written this year, to see if improvements make themselves known to my ears.

I’m happy the festival is back. I really am. Please, go to it. Enjoy yourselves as much as I have and as much as I am sure that I will.
Information can be found here:

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And sometimes soon, here too

Sian Thomas

 

Review: Matthew Bourne’s Cinderella by Sian Thomas

 

(5 / 5)

Last March I was lucky enough to have a relative key me into ballet. I saw Matthew Bourne’s “The Red Shoes”, and when I was invited to see his take on Cinderella, I already knew I was bound to have a wonderful time – and I did. Though The Red Shoes will always harbour a soft spot in my heart because it was my first ballet, I think it’s safe to say I liked this one much more. First of all, as a novice, I think it’s pretty important that this time, I knew what was going on. The story of Cinderella does not escape me even as it harbours a few changes (like being set in London 1940 and having a war theme, and Cinderella’s family being bigger than I remembered).

Costumes were incredible, and I think by “costumes” I mean “Cinderella’s dress”, because if we’re being honest, I was excited to see what it would look like as an audience member, rather than in pictures and pamphlet photos. And it was stunning; truly. Even her costume before the dance was lovely. I’m always a fan of flowing skirts and dresses, so seeing the way they moved as people danced was such a treat to my eyes. So, in that vein, the dancing was incredible. Still, a year later I don’t know much (or anything) about ballet or dancing in general and my eyes continue to be unaware of mistakes and unable to form any critiques (not that I have any at all, actually).

When I left The Red Shoes, I remember I came out on a high, as if I could suddenly redirect my life even though it was 10pm and I would be going home to bed afterwards. The same high followed me out of the theatre after Cinderella. An odd kind of high, one that left me sitting quietly and thinking and reflecting and just trying to figure out what words I would use to really show how much I loved this performance. I couldn’t find many. It’s definitely a “you have to see it to understand” kind of thing (which is why I’m going a step further to place some links here: in case anyone becomes interested in going).

Five stars because it really was wonderful and I’d love to see it again and I know I would enjoy it just as thoroughly every single time.

Review The Sound of Music by Jane Bissett

 

(5 / 5)

 

The Sound of Music is a musical masterpiece from the talented duo Rodgers and Hammerstein. Based loosely on the life of Maria Augusta Trapp and her journey from novice Nun to devoted mother. The Sound of Music has taken the drama which hangs on the story ‘The Trapp Family Singers’ (written by Maria) and has condensed it into a stage musical with a romantic rosy glow.

Oscar Hammerstein’s lyrics are set to music by Richard Rodgers and between them they produced wonderfully descriptive songs that take us from an abbey, to the top of a mountain and capture family life in its simplicity. These songs have been sung by enthralled cinema and theatre goers worldwide for the last five decades.

Indeed, I found myself singing whilst working the following morning, tending sheep in a windswept field in South Wales. Perhaps not such a dramatic landscape as mountains of Austria in the summer, but uplifting all the same.

The story of the family is set in Austria in 1938 with WWII on the horizon. Maria is a young novice Nun who is sent by the Mother Abbess to the home of Captain von Trapp to act as governess and care for his seven children.

Without a mother the children crave the attentions of their father who in his grief has distanced himself from the children, their family home and the memories it holds.

The welfare of the children is Maria’s primary concern and she can see how much they need to regain the love of their father. All she wants is to see the children happy again. She teaches them how to sing and bring music back into their lives. Little does she know that the Captain is himself an accomplished musician and singer and when eventually he hears the children singing it breaks the spell of his unhappiness and allows him to rebuild his relationship with his children whilst unwittingly falling in love with their governess.

Lucy O’Byrne gives an outstanding performance as Maria as does Neil McDermott as Captain von Trapp and for me, much more believable that Christopher Plummer ever was, maybe it was the beard.

Megan Llewellyn was a truly realistic Mother Abbess, kind, compassionate, and wow, what a voice!

The nuns were outstanding, their voices breathtaking and the children adorable in every scene. It was easy to imagine their lives being improved by the arrival of a much needed mother figure who would love them and bring their family back to life.

The set design was a triumph. The audience was transported from the Abbey to the Von Trapp residence effortlessly. The sets were vast and visually beautiful providing an atmosphere that extended well beyond the boundary of the stage. The vastness of the scenery and the skillful way in which it was brought to the stage added to the audience being effortlessly transported from place to place. Although the New Theatre is not the size of a West End stage, for the visual effect and the performances, it was for this production.

It would be unjust to single performers out as this was a whole cast production of talented individuals who together made us believe that we were there.

The audience were so engaged with story and the performances that I am certain that I head an audible ‘boo’ for the Nazi Officer!

Although unseen the orchestra gave an awe inspiring performance of musical talent. The balance of instruments and voices were perfect and crated a world of musical pleasure that elevated the entire show to completely fill the auditorium.

It was no surprise at the end of the performance when the audience rose to their feet before the curtain call and gave the entire cast the standing ovation that they so clearly deserved.

This really is a ‘must see’ production. I was only disappointed that it was not like the film shown in the 1960’s when you could remain in your seat and see it all over again.

The Sound of Music

The New Theatre Cardiff

Tuesday 13 – Saturday 17 February 2018

Evenings 7.30pm

Wednesday, Thursday & Saturday Matinees 2.30pm

For further details about the show or to book tickets call the Box Office on 02920878889

Review: The Witches of New York by Ami McKay by Sian Thomas

I’ve recently finished The Witches of New York by Ami McKay. For quite some time, the book was the base of my “Big Pile of Books I Need to Read” – purely because it was the largest one. I thought it intimidating at first – I hadn’t expected it to be the size that it was. However, by the time I reached the end, I found myself wishing that it was longer. The book has potential, I do believe, but I’ll get to that later.

For a while now, stories with a strong aesthetic have appealed to me more than stories with some unfathomably-mind-blowing plot twist that I never asked to be on the other end of. This book, this style of writing, was right up my alley that it and I more or less lived in the same block of flats. It was so gorgeous – all this talk about a tea shop, girls, style, soft magic, attraction (straight and gay). Even the way littler things would be described; colour, cups, plants, glass, feathers on a bird, silk of a dress, the appearance of ghosts. All of it just seemed to constantly scream out for me, and it was what I enjoyed about the book the most. I have things that agree with me, the things I find pretty or such, and this book just seemed full of them. I love the way a tea shop exists; quiet and usually more than meets the eye (as was the case here). I love little glass bottles filled with things like glitter or seeds (as was, also, the case). I love small keys, things kept on a chain because of how important they are, I love different blends of teas that all, above having their own flavour, seem to also have their own meanings. There just seemed to be so much care and effort put into every little detail with this book, and I really loved that.

The characters and the story both I’ve decided not to go into very much. The characters, Eleanor, Adelaide, and Beatrice, were all intrinsic, individualistic, and all in all, just quite lovable. I’d rather people went into the unravelling of both them and the plot blind, but I will say: I did enjoy it; the story was gripping and the characters were lovely. It touched on a lot of things I like (amongst the already incredible scenery and the like) and I relate to: the subtle fear of pushy men that every girl seems to know and knows how to combat, the camaraderie of women. While intriguing, it wasn’t too fast. It really was enjoyable. I think a lot of people all sorts of ages would enjoy this book.

Back to potential: the book has it. Ending happily, but with just enough of a nudge in some characters direction, I feel like I did certainly have closure, but just a tiny smidgen of it was withheld. I suppose I may have become fond of stories with a neat little bow wrapped around them and then encased behind glass for the rest of time. That’s on me, I do think, but you’d catch me picking up a copy of any book that would follow at the heels of this one, that’s for sure.

Review Madonna or Whore? The Vault Festival by Hannah Goslin

Practically living at the Vault Festival, I decided last minute to book into another show – Madonna or Whore? With 4 and 5 star reviews, I was eager to see what looked like from the posters a different and comedic production.

Madonna or Whore takes a look at misogyny through time, highlighted by Freud’s ‘Madonna or Whore’ theory, and emphasised by  (very good) karaoke Madonna songs.

Now that all may sound like a random concoction but it isn’t. Holly Morgan and her fiancé Tom Moores bring together not only each of their own essence to the production, bouncing off one another as naturally as you can imagine they do in person . Whilst also looking at history, they bring in their personal experiences. With the current #MeToo movement, this production is relevant, shocking but also so true and close to our own lives and experiences.

Now, as really this is some deep stuff to be watching, Morgan and Moores turn it on its head; part stand up, part farce, part comedy duo, they are turned into comical overturns helped by home made props and audience participation.

It is for sure that a review cannot do it justice.

Madonna or Whore? is nothing short of brilliant – topical and very important, Morgan and Moores are just hilarious, clever and totally bonkers. This really is the type of work that should be seen by everyone not only for its importance but for its sheer hilarity and clever approach.

(5 / 5)

 

Review Red Bastard : Lie With Me, The Vault Festival by Hannah Goslin

(5 / 5)

Bouffon : A theatre concept that is unique, niche and rarely seen in contemporary theatre. Red Bastard could easily be said to be the father of this style.

As a student studying performing arts 5 years ago, I was introduced to Red Bastard and fell in love with not only him but Bouffon – a type of theatre where a character who is misshaped and says the things no one should ever say, it is shocking, hilarious and fantastic. Not for those who are too PC!

Lie With Me is Red Bastard’s second show. This time he takes on love, and asks the questions we are all scared to ask and think about – What counts as cheating? What even is love? And pointing out that we all LIE.

Red Bastard uses 3 alter egos – Red Bastard is the devlish and mysterious figure who gets off on our lies, our infidelities, our animal instinct. Eric is the performer – he almost does not agree, he is apologetic and horrified by Red Bastard. And finally a man with no name, who just wants love and to be loved – he’s respectful, giving and rounds up the show with a wonderful soulful ending.

Red Bastard moves across our stage, like a little round devil ; licking his fingers as he enjoys our lies like a delicious cake, miming making sandwich’s, cutting deserts, and filling his evil belly with it. You cannot help but laugh at this but admire his precision in his movements; his known movement of walking and rubbing his misshapen body as he speaks to us is almost like a star struck moment to us fans.

It is unclear how planned and how much improv he uses – he interacts with us but seems to be ahead of us all. This shows true skill as a performer that we know he cannot possibly predict all the infinite options that can come from the audience, but he is so precise and perfect that he takes it in his stride and reacts perfectly every time.

Red Bastard is a hero of mine and he did not disappoint. A well researched performance, he has no qualms, fears or want to not offend, to not tell us what we are thinking, and makes us come away contemplating what life really is, whilst our stomachs hurt from laughing so much.

Hannah Goslin

 

 

Review: Gaslight by Eloise Williams by Sian Thomas

I read Gaslight by Eloise Williams recently. What pulled me to it was definitely the setting – I love a story set somewhere I was born, somewhere I continue to be (and probably will remain – I’m certainly happy for that to be the case). Cardiff has a history, it has looked so many different ways, been so many different things (which can continue to be true as we all trudge through time together). I really did enjoy experiencing it in the Victorian Era. Something about knowing my home completely differently while I also have the pleasure of following a story was lovely.

This may be a peculiar thing to lead off with, but I really liked the line under the title on the cover of the book: “Have you seen her?”. Sometimes words strike a chord with me; this did. I like the mood this seems to create from the very get-go. The book does have quite the atmospheric feel to it. From cover to cover, there’s something enchanting about the intricacies of the character and the setting she resides in. “Have you seen her?” makes me feel as if I should be looking; as if hints of the character (Nansi) or other characters or even of this version of Cardiff’s past are still all over the place, waiting for the kind of attention only I can give them, because I’m already where they were. Something about that, that co-existence, is pleasing.

The story itself I don’t want to spoil, but the allure of a theatre story (definitely with some other things thrown in) in this era was a good combination. It was nice to imagine, and it was just as nice to be led into imagining it and down the path of the story. There was a moment I liked in particular; Nansi steals a piece of sea glass for a show, and during the show that piece of sea glass is used to really sell an act. The way the audience’s rapture is described, and the way the ploy plays out and the anxiety and nerves of Nansi’s surrounding it, was always a scene that had me hooked because of how easy it was to get lost in it, to become enraptured myself.

I think the book is good for a lot of ages. I enjoyed it, and I’m sure that relatives my age or younger (or older!) would, too. There is something about a young person’s endeavours (in this case, Nansi discovering the truth of her mother’s disappearance and her family in general) and watching them grow from their starting point of “clueless” to a stronger character with an ending to be proud of. It’s nice in a sense, to watch someone grow like this. To watch a character stand up for people who can’t, to stand up against people she hadn’t dreamt of standing up to before. I am immensely pleased to hear that Gaslight won the Wales Arts Review Young People’s Book of the Year 2017 award. Being good for all sorts of ages, and a story of fair intrigue, I’d say it did deserve it – and the four stars I give it.

Review The Band, The Musical, Wales Millennium Centre by Jane Bissett

(5 / 5)

WOW!   Where to start?

Having never been a fan of Take That, or indeed boy bands in general, I was a little apprehensive as to what lay in store when entering the Wales Millennium Centre for the opening night of ‘The Band’.

The night was memorable and the performance totally unmissable!

For the first time in Cardiff, this wonderful new musical by Tim Firth hit all the right notes and pushed more emotional buttons than the audience could possibly have prepared themselves for.

A delightful mix of dialogue and song, the story follows teenage friends, Rachel, Heather, Debbie, Claire and Zoe, as they share their love of music and the same boy band.

The girls are full of life, funny with a deep friendship that binds them together. They share their inner most thoughts and aspirations. Rachel declaring that she wants to marry all the members of the band and Debbie agreeing to be her bridesmaid.

Debbie wins tickets to a concert in Manchester and the girls set off on their big adventure seeing the band, missing the last train home and having to make it part way home on the bus.

This musical is a coming of age story that every teenager has experienced even if musical tastes do change you never forget your teenage loves.

The two greatest sensory markers in our lives are music and smell, they have the ability to transport us instantly to another time and place whilst bringing to the forefront our greatest and most precious memories.

Move on 25 years and Rachel has moved away and the girls have all lost touch. Then Rachel wins a radio competition for tickets to see the band at a concert in Prague and the only thing on her mind is getting the girls back together.

Having made contact the girls (now 41yrs old) meet at the airport and fly out togther on another adventure. Their experiences and revelations in Prague serve to cement their friendship and to change their lives again.

The soundtrack of the girls lives are the songs of Take That, they punctuate the story in a way that gives it depth and meaning.

Five to Five, the boy band chosen through the talent show ‘Let it Shine’ gave an inspiring performance by almost being in the background. There is no doubt of their musical talent and the vocals were seamless and outstanding.

All credit goes to the Creative Team, too numerous to mention individually, who staged and produced this remarkable new musical, one that I am sure will endure for many years to come.

The stage craft of every cast member drew us ever closer to the action. We laughed, we cheered, we shouted, we sang, and some of us even cried.

At the end of the performance the entire auditorium was on their feet, waving lit mobile phones and generally going wild. I can honestly say that this was an experience like no other and despite myself, like everyone around me I just wanted more.

THE BAND plays at Wales Millennium Centre;

Tuesday 9 until Saturday 20 January

For further details about the show visit www.wmc.org.uk or to book tickets call the Box Office on 02920636464