Tag Archives: Wales Millennium Centre

Review: Joseph and the Amazing Technicolour Dreamcoat – Patrick Downes

Review:  Joseph and the Amazing Technicolour® Dreamcoat – Wales Millennium Centre 14 May 2019

You’ll surely know the story of Joseph and the Amazing Technicolour® Dreamcoat. If not…. where’ve you been? It’s a retelling of the Biblical story of Joseph, his eleven brothers and the coat of many colours.

From its origins in the late 60s to its revival in 1991 with Jason Donovan (then Phillip Schofield), this new touring production of Joseph certainly stands the test of time. It’s been one of my favourite musicals and that was only through listening to the 1991 cast recording, over and over. So, that aside. How does this fair?

Jaymi Hensley as Joseph is certainly a little powerhouse of a vocalist which belies his pop background of XFactor and Union J. 

Trina Hill as the Narrator guides the audience through with a voice of great stature for someone so diminutive, and Andrew Geater as Elvis, err, Pharaoh manages to steal the second act.

Special mention though to the other cast/ensemble as I can’t remember the previous tour in 2016 being so rounded like this, as for the children – on stage throughout both acts, just brilliant! There’s more to what you may know of Joseph and it’s certainly worth a few hours of your time seeing it on this current tour.  A perfect entry into the world of musical theatre for anyone of ages 8 – 98

I think you should not “Close every door” and just “Go go go” see Joseph!

Rating: 🌟🌟🌟🌟

Joseph and the Amazing Technicolour Dreamcoat is on it’s UK Tour at at Wales Millennium Centre till 18th May 2019

Reviewer: Patrick Downes

® Technicolor is a registered trademark of the Technicolor Group of Companies

Review MACBETH, National Theatre at Wales Millennium Centre by Barbara Michaels

Play by William Shakespeare

Director: Rufus Norris

Reviewer: Barbara Michaels

4 out of 5 stars (4 / 5)

Reviled by many as one of Shakespeare’s more unpleasant plays, and referred to by thespians as ‘The Scottish Play’ because of its reputation for bringing bad luck to performances, Macbeth is open to a huge range of interpretations on account of its deep psychological reference.  Rufus Norris’s interpretation of Shakespeare’s work balances this with an urban modern setting that screams disruption and corruption in high places from start to finish.

For those unfamiliar with the play, Macbeth is a soldier whose wife’s aspirations of greatness proof to be his downfall.  Returning after a successful battle, he meets a coven of witches who predict his speedy promotion and ultimate Kingship.  On arriving home, Macbeth tells his wife, who informs him that Duncan, the present King of Scotland, will be visiting and staying the night – giving an ideal opportunity for the skulduggery which is necessary i.e. the King’s murder. One killing leads to another as both the Macbeths become victims of a bloodlust that lead inevitably to their downfall.

Played out against a forbidding darkly lit set which hardly changes throughout, this production focuses on making Shakespeare’s work compatible with contemporary times, with the obvious intent of the original text becoming more accessible to present day youth.  In this, the National Theatre’s most recent version of Macbeth, it succeeds brilliantly. The parallel with the knife crime so prevalent in today’s society is evident. The fights are, at times, almost too realistic Costume designer Moritz Junge dresses the soldiers including the main protagonists Macbeth and his rival Macduff in combat uniform, while Lady Macbeth is seen in jeans and T-shirt. Set designer Rae Smith uses a steeply sloping ramp for much of the main action in a stark setting.  Even the banquet in Macbeth’s castle is an austere affair.

. BUT – there is a caveat. Some of the poetry and fluency of the memorable speeches is lost, or drowned out by overloud music which adds to a cacophony of sound in some scenes.   And did the three witches really have to climb poles? Having said that, the pluses in this production by the prestigious National Theatre are many. Overall this is good theatre, due in no small part to the acting of Michael Nardone, who projects as a Macbeth in emotional torment yet unable to resist the possibility of ennoblement and its accompanying riches and the blandishments of his evil (soon to become deranged) wife, with disastrous consequences. Kirsty Besterman plays Lady Macbeth as a malevolent sex kitten who has no scruples in using her bedroom wiles to persuade her husband to embark on a wicked course that will lead to his destruction. Norris tackles the wickedness head-on – literally. (Forgive the pun – beheading is part of the on-stage action).

As for light relief:  there is not much of that around, but what there is gets its full due in the hands of Deka Walmsley whose spot-on timing and comedic touch provide a most welcome moment of lightness in this searingly dark tragedy, giving rise to appreciative chuckles on the night reviewed. A welcome moment of respite from the relentless discords of a brutish production that demonstrates that, while we may stop short of beheading in today’s society and guns have replaced swords, in some respects – you have only to consider the fighting in Afghanistan and Syria, for instance – the similarities with our own times are all too apparent.

Runs until Saturday March 23rd.

Review: Humanequin at Wales Millennium Centre by Gareth Ford-Elliott

3 out of 5 stars (3 / 5)

Humanequin by Kelly Jones is a groundbreaking collection of three stories from young transgender people in South Wales. It is raw in its monologue format and informative in its direct approach.

The stories come straight from real life and that reality is enhanced by having three transgender actors on stage. The fact that Humanequin is the first transgender play, with an all transgender cast performed in Wales, makes it truly groundbreaking. And the production is stronger for it.

The thing with this production is, it isn’t necessarily about the theatrical quality, that I am reviewing here. It is much more about what we as an audience take away from it. This is about telling and normalising the stories of transgender for the people of Cardiff and wider society. So to start without mentioning that would be a disservice.

The direction of this production from Jain Boon could be stronger. There is some nice blocking and movement in this piece. And moments that are strong. But overall, it lacks the intensity necessary for a piece like this.

Sammy Woodward stands out as the actor with the most emotional range and they really feel in the moment with their character. Emily Joh Miller grows into her performance whilst Harry Bryant keeps a steady pace throughout. The three work quite well together, but there is that lack of intensity and chemistry between the three.

Georgina Miles’ set design is simple, yet effective. The most prominent pieces of set are some blocks and three metal grates that get moved around to change the setting. There is also a tree with tags for leaves. On these tags are written names of trans people who have been lost over the years. This tree is a really nice touch and whilst not actively used in the performance, watches over the actors and certainly adds a lot. The set is nothing extravagant, but effective in its job.

Chris Young’s sound design is really complimentary to the production with Ceri James’ lighting design representing the emotion of the piece well. The main criticism for these two is there isn’t enough. At times these aspects of design are really strong, but in others they are absent, in a way that doesn’t translate well.

As a cis woman, Kelly Jones takes on a big task of writing for a group of people we very rarely hear about. But, a task she handles well as far as the content goes.

It’s more Jones’ playwriting that lets her down. It’s not a bad script by any means, and as a piece that is ultimately meant to educate, it does a very good job. But as a compelling piece of drama it is lacking.

The three intertwined stories told as monologue is a form I personally love, but here it doesn’t work for some reason.

Characterisation also gets lost in an attempt to normalise the characters. Aspects of their personalities seem trivial. As well as this, some of the politics is very on-the-nose. Not an issue in itself, but again, it just doesn’t feel right here. It seems forced. Something that is maybe necessary for the piece, but needs to be worked into the production in a stronger way.

One decision made in the writing process that was really good, was to not make every story all “doom and gloom”. It would be easy to make this a sympathetic piece of theatre that looks at the struggles of trans people with the far too often real life consequences. And that reality is not ignored here. But neither is the reality that these are people. They act out, they do things that seem irrational at the time. But like any good playwright, Jones examines and explains them by the end of the story.

Perhaps in another performance context such as being held in a different venue, at an earlier time, in a school or university, as part of an education programme or whatever it is, this could be a fantastic production. And for people who know little about trans-issues, this would certainly be a very informative and emotional way to be introduced to these issues. So that must be commended. But, for the audience that, on the night I was there, seemed very clued up on these issues, it perhaps lacked the dramatic value that we go to the theatre for.

Not necessarily to be entertained, but to leave having found or felt something. And whilst for an audience without knowledge of trans-issues, this would be great. For those with that knowledge, it doesn’t offer much.

If this piece moves forward, the decision needs to be made whether this is an educational piece or a different form of theatre. Because both have their place and both are necessary for the growth of trans-theatre and the awareness of trans-issues in wider society. But this just feels like it’s biting off more than it can chew.

Humanequin is a strong, educational piece of theatre about the experiences of young transgender people in South Wales. Its flaws pale in comparison to its importance.

Humanequin by Kelly Jones
Performed at the Wales Millennium Centre
Presented by Mess Up The Mess Theatre Company, Youth Cymru and TransForm Cymru.
Performed by:
Sammy Woodward as Rae
Harry Bryant as Max
Emily Joh Miller as Meg
Directed by Jain Boon
Designer: Georgina Miller
Sound Designer: Chris Young
Lighting Designer: Ceri James
Stage Manager: Katie Torah
Technical Assistant: Dawn Hennessey
Producer: Jay Smith
Creative Assistant: Kay R. Dennis
Community Artist: Bill Taylor-Beales
Education Producer: Rachel Benson
Artistic Director for Mess Up The Mess: Sarah Jones

Review Evita, Wales Millennium Centre by Barbara Michaels

3.5 out of 5 stars (3.5 / 5)

The real-life story of Eva Perón is a classic case of fact being stranger than fiction, and couldn’t be more suited to adaptation as a musical, and a highly successful musical at that ever since Andrew Lloyd Webber and Tim Rice’s hit production in London’s West End back in 1978, followed by Broadway a year later and since then a string of professional productions worldwide.

Eva Duarte was living in poverty in rural Argentina in the late 1930s when her involvement with a musician takes her to Buenos Aires where her determination to become a star eventually results in a meeting with Argentinian Colonel Juan Perón at a benefit concert. He too has an ambition – in his case to become President of Argentina. With Eva – who later becomes known as Evita – by his side he succeeds. Meanwhile, despite her unflagging work for the poor of the country, Eva’s extravagant lifestyle leads to criticism.

This new production by the really Useful Group under the banner of Bill Kenright breathes new life into the show with a brand new cast including the charismatic Glenn Carter as Che. Acting as narrator, Carter’s expressive delivery and fine voice guide the audience through the twists and turns of the story of the ambitious girl from the sticks who becomes the wife of the President of Argentina, with all the trappings of wealth and status that go with it.

Taking on the role of Eva is Lucy O’Byrne – not an easy task, given that not one but two showbiz icons – Elaine Paige in the Seventies West End production and Madonna in the film – have previous in this respect. O’Byrne’s voice is strong but she needs to guard against a resulting loss of clarity at times, which is shame given the emotive quality of Tim Rice’s wonderful lyrics. O’Byrne came into her own in the second half with her performance of what was to be Eva Perón’s last appearance and her singing of ‘Don’t Cry For Me, Argentina’ – heart-rending in its beauty. Interpreted by, and under the baton of musical director Anthony Gabriele, Andrew Lloyd Webber’s marvellous musical score is given full throttle, at times to the extent of being overloud in the first half but meltingly moving in the highly charged and emotional second half.

Good to see some of the talent that comes out of Wales in Swansea-born Mike Sterling as Perón. Historically in the musical the role is underplayed in relation to that of Eva. Accordingly, Sterling gives us only a glimpse of the man that was Perón leaving us aware that behind a pragmatic exterior lies an ability to recognise and rely on the power behind the throne – Eva.

Important to the first half of the story is Magaldi, the musician whose eye for the girls is Eva’s route to Buenos Aires. The dark good looks of Oscar Balmaseda make for a neat bit of casting, as does that of Cristina Hoey as Perón’s former mistress, swiftly given the boot by Eva. Although Hoey makes only one appearance, and a brief one at that, her singing of Another Suitcase, In Another Hall is up there with the best. This girl is definitely one to watch.

At the end of the day it is, as with much if not most musical theatre, the story plus the songs that make or break the show, and here the plot is a given and as for the songs – beautiful.

Runs until Saturday 8 September 2018

Review Warhorse, Wales Millennium Centre by Patrick Downes

Equine Audio Excellence  4.5 out of 5 stars (4.5 / 5)

It seems fitting that in this year, 100 years after the end of the Great War, War Horse has gone back on tour around the UK, currently playing at Wales Millennium Centre.

Based on the 1982 book by Michael Morpurgo, it tells the story of Albert and his beloved horse, Joey. At the outbreak of WWI, Albert and Joey are forcibly parted when Albert’s father sells the horse to the British army. Against the backdrop of the Great War, Joey begins an odyssey full of danger, joy and sorrow, and he transforms everyone he meets along the way. Meanwhile Albert, unable to forget his equine friend, searches the battlefields of France to find Joey and bring him home.

Bringing this story to the stage happened in 2007 with the National Theatre production, and in this 10th year, that production is the same now as it was then.

You won’t fail to be impressed by the puppetry of Joey, as a foal or as a full-grown horse (South Africa’s Handspring Puppet Company providing both brilliantly). Little touches within the performance like the goose, send you to another place where you don’t see the human performers, you just see a goose, horses and scavenger crows.

The cast performance itself is something quite unique. It’s like a musical number. Each step is carefully choreographed so each movement between puppet and person blends seamlessly.

The main thing I found though, is the sound. It’s just epic. With a soundtrack of some music and song, and the effects of war, you can’t help to be immersed into the story – just watch if you have a dodgy heart, sometimes the effects can just grab you out of thin air, and you’ll end up in the ceiling of the WMC. With the sound, comes the lighting, it wouldn’t work one without the other. It brings the war fields of Europe to the very heart of the staging. There just seems a sense of foreboding with each lit movement on stage.

It’s rare that I feel uncomfortable in watching a performance, but the second half, I felt just that. It’s a strange thing to explain, but it felt like you were watching something truly awful, but I could also not take my eyes away I felt so immersed in the performance.

I’ve only ever managed to catch the last half of the film, and not read the book, but I don’t feel I need to with either medium, as a play, this will give you food for thought, and be thoroughly entertained.

War Horse is on at Wales Millennium Centre till 28th July 2018

Review by Patrick Downes

Festival of Voice 2018: My review highlights (Gemma Treharne-Foose)

2018’s Festival of Voice, produced by the Wales Millennium Centre builds on previous years’ attempts to unite communities and celebrate voice in all its forms, drawing upon Wales’ wide cultural and musical legacy. This would be my first experience of the festival and it really kicked off in style.

Over the course of a week, I’d be bowled over, discover something new and completely unexpected and leave my typical comfort zone of only watching (and reviewing) theatre. Festivals like these are a smorgasbord of new opportunities to learn something new and develop your palate for new art forms and genres of music.

We were introduced to the opening of the festival from the centre’s Artistic Director and team, before being joined by community and advocacy groups – true to the centre’s vision to be inclusive and accessible, but I did wonder how ‘accessible’ it really is that unless you are familiar with the set-up and already know that you can verify your ticket – the £8 parking ticket cost to park in the nearest car park and see a WMC show would be pretty inaccessible to most carers and people on PIPs and other benefits.

I also need to point out the ridiculous set-up of the toilets in the centre. There are disabled toilets, sure – but the two sets of heavy doors, teeny-weeny area to dry your hands and the smallest bins I’ve ever seen in my life are deeply irritating.

But I digress….enough of the nit-picking and on to the main event…

CARERS CHOIR, GIG BUDDIES AND BILLY BRAG, WMC

Underappreciated, underpaid and perhaps an unlikely group of people to assemble as a choir, the festival was opened by a multi-generational group of carers, who sang with real spirit and heart. Knowing the obstacles and challenges they face in their day-to-day lives, their positivity shone through and the audience were visibly moved by their version of ‘What a wonderful world’ and ‘Lean on me’.

After rapturous applause, it was time for the Gig Buddy crew to crash into the foyer, clutching signs, banging drums and stamping their feet. They had formed a group to protest the fact that the support they receive does not take into account the fact that they too want to access music and arts performances – and these of course fall outside the typical office hours of supporters and carers. In association with Learning Disability Wales and Hijinx Theatre Company, the protesters delivered a skit about the fact that for most people – not being able to go to gigs, movies and performances like everybody else is not only unfair but naturally they’re quite rightly pissed off about it.

This was a brilliant opportunity to showcase the ‘Gig Buddies’ initiative where volunteers are matched (via their interests) to people with additional learning needs and various disabilities who need a little extra support to access gigs and shows. Bloody brilliant idea and I’m hoping to sign up myself.

The main event for the opening of the festival was ‘Topical singer songwriter’ Billy Brag (he doesn’t like to call himself a political performer in case it puts people off!). I knew the name Billy Brag but barely any of his actual material. This would be a new experience, not least for discovering the awesomeness that was supporting artist Nadine Shah, a Tyneside lass whose basy, punky songs are accompanied by soulful vocals.

Her edgy songs draw upon current affairs, world injustices and the hurt and heartbreak of modern life. Performing songs from her 2017 album ‘Holiday Destination’, she gave a fierce and raw performance. The song Holiday Destination and its refrain ‘How you gonna sleep tonight’ is a polemical nudge and critique on the holidaymakers in Kos who complained of refugees on the island ruining their holidays.

Shah tells the crowd “We need immigration – we make food taste better, we make the place look better and we make music sound better, too!”.

Shah’s heritage is Norwegian-Pakistani, and her Northern accent and humour shines through in her work. Billy Brag is – just like Nadine Shah, a storyteller. In between his songs, he delights the audience with his insights, his banter and his stinging observations about what’s going on in the world. He is unapologetic about his views, honest about his flaws and endlessly witty about politics in general.

He skewers Trump in the finale song based upon Bob Dylan’s ‘Times they are a changin’, which was changed to ‘Times they are a changing-BACK’). He tells the audience he wrote the song in a rage in 2016 when Trump was elected. His stories and rambles include the fact that he was schooled the last time he was in Cardiff for using a plastic bottle on stage at the Tramshed. “I’m sorry…I learned from my mistake. The oceans are full of plastic and shit, we need to do something about it.” Since then he’s used a ‘Gig Buddy’ aluminium bottle.

Of the grumpy artist Morrissey, he tells us “What is happening? He’s turned into a bloody gammon!”. Brag’s songs are clever and his set is largely improvised. He plays a song after an audience member shouts out a suggestion – and his final song is the famous classic ‘A New England’.

The entire audience shouts back the lyrics and it’s electrifying. I couldn’t believe I haven’t been following this chap’s career. Where the hell have I been the last 37 years? He has a new fan in the Rhondda, that’s for sure. The opening acts in the foyer and the main concert in the Donald Gordon theatre were rebellious in spirit and sound.

LOVECRAFT (NOT THE SEX SHOP IN CARDIFF), WMC (Ffresh bar)

I don’t know where Carys Eleri has been hiding out but we all need to see more of her. I didn’t know what the show ‘Lovecraft’ was going to be about – something to with science and love, I gleaned from the flyer. But it’s so much better than the event write-up promises.

I can’t praise the producers and director of this show enough for their vision. As sets go, it’s pretty low-tech, a cabaret-style set up within Ffresh bar serves as the set and Carys is accompanied by two screens which form a kind of visual aid and powerpoint for this hilarious one-woman show. The production is a romp through the idiosyncrasies and absurdities of love. What’s the ‘science’ behind love and sex? You’ll get to find out – via Carys’ brilliant stories.

It’s outrageously honest… and completely mental. This show will especially appeal to any women in their thirties who feel the pressure and expectation that society thrusts (‘scuse the pun) upon them.

At times, this feels like you are catching up with one of your girlfriends from Carmarthen who is every bit as outrageous and filthy as you are – and you’ll love her for it. The science narrative is informative, but not the main point of the show. You’ll be drawn in to her off the wall stories, brilliant observations about her Mam (“Carys…can’t you put on a bra..?”) and the dirty and embarrassing secrets we might all experience growing up – ‘fanny gallops’, hallucinogenic trips in the back of a taxi being driven by a unicorn and waking up naked next to another girl. We’ve all been there, right?

The song ‘Tit Montage’ is the highlight of the show, perhaps of the entire festival – and in my opinion would be a credible entry for the Eurovision Song Contest.

The song ‘I brain you’ is pee-your-pants hilarious. If Carys Eleri was running for Prime Minister, I’d probably vote for her. I BEG you to see this show – its been to Edinburgh Fringe already and has attracted a steady stream of adoration from audiences at the Festival of Voice.

There is so much life left in this show – and I hope it tours again (I will be sure to gather as many of my filthy friends as I can to share the experience with). My only negative points are that I could have happily sat through another hour of it before it finished and I now want Carys Eleri to be my best friend/drinking companion even though she has no idea who the hell I am.

RHONDDA RIPS IT UP (WNO), New Theatre

After a somewhat lukewarm experience at my last opera, I wasn’t sure if I was an ‘opera person’. But anyone following the #MeToo movement, who calls themself a feminist or admires the women who took part in the recent ‘Procession’ in Cardiff to mark a hundred years since women obtained the right to vote REALLY shouldn’t miss out on this show.

Led by Emcee Lesley Garrett, this is a look back at the stuffy Victorian era and the legendary Margaret Haig (Lady Rhondda) – a politician’s daughter and activist who led the Newport branch of the Women’s Social and Political Union (WSPU). The indomitable Margaret Haig was an outspoken radical who along with other women, was judged and ridiculed by the Asquith’s liberal government for her efforts.

Played by Madeline Shaw, Lady Rhondda is a fearless campaigner. Along with her friends Edith and Prid (played by Paula Greenwood and Meriel Andrew), the production satirises the ‘old boy network’ of both the government and society at the time and pokes fun at the uptight/prissy way in which women were expected to behave.

I had no idea opera could be this edgy or this level of hilarious. Everything from the choreography, the physical comedy of Garrett and other cast members, the originality of the songs and cheeky/camp way they are delivered is a treat for the audience.

The stand out scenes are the songs ‘My girl’s pussy’ (yes, really!) and the song about the fondant fancies, complete with all the flair and foppishness of the Edwardian music hall tradition. This is Women’s Institute crossed with #MeToo.

There are also guest appearances from the WNO community chorus (who deliver a rousing performance as fellow suffragettes) and a nod to Haig and Helen Archdale’s gay relationship, demonstrating the extent to which Lady Rhondda tore up the rule book and challenged convention, albeit discreetly. There is a telling scene in the show when Margaret Haig and her friend are on the train (with their bomb-making materials) and they overhear a man saying “Suffragettes! If that was my wife, I’d give her a darn good thrashing!”.

Queue a hilariously camp sequence with a bunch of ‘men’ thrashing each other’s behinds with rolled up newspapers in a homo-erotic fashion. Nowadays we’d call this toxic masculinity at its worst – back then, those kinds of attitudes were de rigueur.

I am no opera buff, but WNO have delivered a phenomenal tribute to Lady Rhondda and her contribution as a suffragette and business pioneer.

It was sensitive without being syrupy and witty without being cruel. Not everyone will get the satire, apparently – one audience member overheard in the loo commented she didn’t understand why ‘men were being made fun of’ and that she preferred the WNO community chorus to the production itself. For me, the main feeling I got was one of immense gratitude – that so many women like Haig faced violence, imprisonment and the scorn of society and for their dogged determination to change history for the better.

Their first victory was not a resounding success, the first bill allowing women to vote was only for women over 30 with property. There was plenty more to fight for – and with world events and pussy-grabbing presidents reminding us daily, some might say the battle is far from over. But as the legendary suffragette Emily Pankhurst once said:

“Never surrender….never give up the fight.”

GWENNO, WMC (Weston Studio)

A former member of indie band The Pipettes, Gwenno has already amassed a strong critical following and fanbase after the release of album Un Dydd Olaf in 2015 and Cornish language ‘Le Kov’ in 2018. Her dedication and tribute to Edrica Hughes at the Festival of Voice was a moving tribute to the poet and patchwork quilt artist Edrica Huws (1907-1999).

There was a packed house in the Weston Studio for the one-off performance, entirely created and composed by Gwenno, but this time with the support of a violinist and harpist (Angharad Davies and Georgia Ruth). The stage was dressed like a set – a lived-in parlour with an old-fashioned crib, a fireplace and the markers of domesticity from a time gone by.

At the foot of the large screen above the stage stood Gwenno’s mixing decks and computer, flanked by a triple harp and wooden toys – the musical set and hi-tec equipment is a curious accompaniment to the ironing board, clothes horse and lamp on stage, denoting the ordinary, humble life of Edrica. On the screen we saw vignettes of slices of history sketched and animated on the screen, accompanying the synthy electric-pop landscape being played and mixed live in front of us.

We saw suffragettes marching in 1907, weaving in and out of the war, a grimy London landscape of the humdrum existence of everyday life, love, relationships and duty stitched together with the dreamy melodies and an almost hallucinogenic quality to the music. I hadn’t known about Edrica’s work or story before. An ordinary wife and mother, she didn’t start expressing herself artistically until age 51.

She became a ‘patchwork pioneer’, breaking the rules and conventions of art and design in terms of subject, material, tone and texture to become a celebrated exhibitor and artist/poet around the world.

Animated by Tad Davies, the on-screen vignettes to not distract so much as heighten the experience for the audience and Gwenno’s gentle vocals, the poppy disco beats, baseline and meandering harp and violin are a thing of beauty.

Gwenno’s soundscape is punctuated by poetic whisperings, especially poignant and beautiful during ‘Anrhefn Pentyndod / The chaos of childhood’ and kooky and marvellous when she donned a cat mask for ‘Y Gath’ / The Cat in tribute to Edrica’s ‘Cat on an ironing board’ piece.

She is not a wild or attention-seeking performer in the sense of other unique artists (like Bjork for example) but she is completely enigmatic – a quiet genius in many senses. She creates riffs and spacey echoes using props – one song loops the sounds made by wooden toys and they are overlaid with a base-heavy disco beat.

It is weird and wonderful and strangely soothing. Edrica is a feast for the senses, the thinking person’s mind disco – and you’ll be richer for having witnessed it.

In between each song, the audience is almost deathly silent for a few seconds – not because the show is bad (because it was clearly bloody brilliant) but because they know they had witnessed something magical and weren’t sure what the rules were. Should we get up and dance? Applaud wildly? Edrica Huws broke the rules during her lifetime and Gwenno is doing the same.

5 stars 

Type of show: Music / Theatre / Opera / Performance Art / Poetry

Title: Festival of Voice Venue: Multiple Locations

Dates: 7-17 June

Produced by: Wales Millennium Centre (and partners)

Author: Gemma Treharne-Foose

Review: Passenger #FoV2018 at Wales Millennium Centre by Patrick Downes

REVIEW: Passenger 14 June 2018 Wales Millennium Centre

I’ve been a fan of Mike Rosenburg (Passenger) since 2012 and Let her go, plus having seen him perform at Cardiff Uni in 2014, was curious to see how he’d progressed. I’m a little embarrassed to say that I’ve not really kept up with his music, but he’s got that kind of distinctive voice that you know for sure when he’s being played on the radio.
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Fast forward 2018 and the Festival of Voice at Wales Millennium Centre. A place I know so very well having seen many musical and theatre productions there in the past few years. It’s not really the kind of place I’ve seen live music at, albeit James and Only Men Aloud is the exception to this fact. A sold-out gig in one of the most incredible auditoriums I’ve bore witness to, could this be the most perfect night?

Well, let’s start with the support, Stu Larsen. Hailing from Australia, and with just his guitar to boot, the Donald Gordon Theatre was filled with an amazing sound of quiet, and music, with even the sound of a door in the upper circle closing, could be heard. It felt the right kind of support for Passenger, with the voice and storytelling within his music, you could see how good at his craft he was. You often wonder with support acts, are they going to be good – or are you going be heading back to the bar. Needless to say, I didn’t see anyone leaving during Stu’s 45 minutes, and quite right too.

Then onto the main event. The Festival of Voice 2018 was an international arts festival in Wales’ capital city that celebrated the voice in all its forms. It featured Gruff Rhys, Billy Bragg, Charlotte Church and Passenger. If you’ve not seen Passenger or heard his music, I think the only way to describe it would acoustic guitar driven folk story telling.

As I mentioned previous, the Donald Gordon Theatre is acoustically perfect, as was the audience. I’ve never been to a gig with such respect for the musician. Maybe that’s due to the location, or maybe due to the person. Whatever it was, the sound reverberated around the auditorium with little effort. With a setlist that featured acoustic tracks from Whispers, All the little lights, plus of course the better-known hits of Hearts of Fire (featuring Stu Larsen on harmonies), Holes and his number one single, Let her go.

Each song had a back story, and within each song then performed, you gained a better and proper understanding of it. From Riding to New York to David, I felt I left the gig with some food for thought. Anyone can write a hit record, but it takes a special kind of person to write a song that will make you think.

I just hope the next time I see Passenger, it’ll be a venue like the WMC (top 5 gigs he’s ever done apparently), and I’ll keep my musical education a little more in tune. In fact, I’ve had the last 3 albums on the iPod on repeat in my car since the gig. I just close my eyes, and I’m back there (obviously I’m not driving at the time).

In a few days, another guitar wielding male singer songwriter will be descending on Cardiff, now Passenger may not have the loop pedal, but for what he lacks in technology, he more than makes up for in heart.

Review by Patrick Downes

Review: Voices of Protest – Festival of Voice, Wales Millennium Centre by Luke Seidel-Haas

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★★★★★

 

The Festival of Voice is a biennial international arts festival, described as an opportunity to “hear and be heard”. Featuring events scattered all over the capital city, the main hub of the festival takes place at the Wales Millennium Centre, featuring a hugely diverse program of events. These range from rock and pop music, to cabaret and musicals to live art. The aim, according to artistic director Greame Farrow, is for the “Festival to become internationally renowned and on a similar scale to Edinburgh. I would love to close the streets of Cardiff for the weekend and fill them with voices for free,”. It was with great pleasure that I was invited to attend the opening night of the festival which featured Billy Bragg and Nadine Shah in an event called Voices of Protest.

At this point I have a slight confession – I had never heard of Nadine Shah before this point, and was only vaguely familiar with Bragg’s work through his Left Field Stage at Glastonbury. That being said, I felt this was an excellent opportunity to go into an event with a completely open mind and no presuppositions. Between collecting my tickets from the box office and the main event, I had a chance to explore the rest of the Festival of Voice hub. The main foyer of the WMC has been given a bit of a makeover, with a live DJ playing, and interactive art works strewn around. Outside the building, sandwiched between the WMC and the Piermaster building was a collection of delicious looking street food stalls. These included a Wood Fired Pizza stall, Fresh Pasta, a coffee kiosk and a bar, as well as a pop up Kitchen ran by Oasis, the refugee and asylum seeker organisation. Eventually I settled on a Turkish inspired stall called Murray May’s Rolling Kitchen which was selling proper charcoal grilled kebabs served in pittas. This was absolutely delicious – if you get a chance to get down to the hub I can’t recommend their food enough.

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Enough about the food – on to the music. Settling down in the beautiful surroundings of the Donald Gordon Theatre, I honestly had no idea what to expect. Slightly later than billed (since when to musicians take to the stage on time anyway), Nadine and her band arrived and launched right into things. Brooding and dark, Shah’s voice is undeniably excellent. Rich and soulful, she has a unique tone which is likely in part to her strong North-Eastern accent which she doesn’t attempt to disguise or Americanize when singing. Featuring the traditional rock lineup of guitar, bass and drums, Shah’s band also included a keyboardist and saxophonist which contributed to the full tone of the outfit.

In an event called Voices of Protest, it is clear why Shah’s blend of music hits the mark – the content of her songs range tackling fascism and Islamophobia to refugee and immigrant rights. As a self confessed second generation immigrant (born in South Tyneside to a Pakistani Father and part Norwegian Mother), Shah stops her set at one point to remind the audience of the valuable contribution that immigrants can and have made to this country. And yet while the content of her songs is intelligent, powerful and provocative, Shah is clearly happier to let her songs do the talking – at one point she confesses that shes “rubbish at this talking stuff”, and will leave that to Bragg.

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After a brief interval in which sets are changed, Billy Bragg takes to the stage to rapturous applause. Aged 60, Bragg is clearly still full of energy and passion for politics. Despite claiming in his most famous song that “I don’t wanna change the world”, his songs have a clear message to people – get involved, educate yourselves and campaign for what you believe in. In comparison to Shah’s rich full sound, Bragg stands alone on an almost bare stage with just his guitar and the occasional backing by colleague CJ on electric or slide guitar. Yet Bragg’s enthusiasm and warmth manage to fill the auditorium, and as he discusses the meaning behind each song it is clear that the majority of the audience are becoming more and more alert to the messages behind what he’s saying. Highlights include Handyman Blues, an ode to men accepting that they don’t have to adhere to stereotypical notions of masculinity, a cover of Bob Dylans The Times They Are A Changin (Back) but with the words re-written after Trump’s inauguration, and of course his final encore song New England.

Despite his earnest and heart-felt political opinions, Bragg never comes across as preachy or condescending. At one point he stops the show to discuss an event that happened at his last gig in Cardiff at the Tramshed, where a heckler asked Bragg why he was drinking from a disposable plastic bottle. Bragg showed us (and indeed that very heckler, in attendance tonight) that he had learnt from this and now uses a Gig Swig reusable bottle while encouraging other musicians to do the same. It is this type of genuine activism and openness to being challenged that makes Bragg an excellent champion of left wing causes. While not the greatest singer or guitar player, Bragg’s strengths lie in his excellent song writing. Poignant lyrics, which open your eyes to the possibility of and need for change, are an excellent way of reminding people what can be done together. Bragg confesses in the gig that music cannot change the world – but what it can do is give you an outlet to inspire others to change things in other ways. The motto of the Bragg curated Left Field at Glastonbury is “recharge your activism”; after this evenings powerful opening to the Festival of Voice it would be difficult not to feel rejuvenated. Inspiring and thought provoking, Voices of Protest is an excellent evening’s entertainment featuring two different but equally galvanizing artists.

Voices of Protest

Live Music

Donald Gordon Theatre, Wales Millennium Centre

7th June 2018

Billy Bragg & Nadine Shah

Part of the Festival of Voice – more info and tickets here

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Luke Seidel-Haas

 

Review: Titanic The Musical by Patrick Downes

At first sight, and if you didn’t know any better, the idea of Titanic The Musical might sound a little off-key. The most tragic maritime event in history being told through the medium of song? Well, that’s what I thought but then I did a little digging (thank you Mr Google) to find this musical is not what you first think. It’s nothing to do with any Celine Dion song (thankfully, my heart can go on), nor Jack and Rose, but at its heart it tells the story of a ship and the three classes of people that boarded, each with their own hopes, dreams and reasons for wanting to go to America.

There are four couples the story highlights, one from each class – first, second, third, plus another couple who were first and are now second, together with the hierarchy that was the captain and crew. Sometimes in review it’s easy to avoid the ending, for obvious reasons on this occasion you should know already. If not, google it.

This musical though is something special, having won five Tony awards in 1997 including best musical, it’s the kind of musical that’s seemingly rare these days in terms of how it’s written and performed. It feels like a classical musical opera, and I think for some people, this might be a little bit of a stumbling block. But if you stick with it, it has the power to move you in ways you don’t really expect.

The sound that filled the auditorium is immense, not just the voices, but everything. The orchestration, and the general feel of the piece. Act one is all about introducing each character and their place on Titanic, this takes us to the end of act one and the iceberg. The first half of act two is then a frantic nonstop piece as the ship slowly succumbs to the Atlantic.

There aren’t any star names in this musical, not that I realised anyway, but that just means the entire cast are the star of this musical. They tell the story with heart, compassion and an amazing all-round performance.

Whatever version you know of Titanic, be it the James Cameron film, or the ITV miniseries, it all comes down to a story of humanity, and how people can be flawed, and how some love stories don’t have happy endings.

Officialpoptart Score: 8/10

You can see Titanic The Musical at Wales Millennium Centre till May 5th 2018 and it continues around the UK afterwards

Review: Patrick Downes

Review: Shrek The Musical at Wales Millennium Centre by Patrick Downes

Imagine for a moment you’re back in 2001 and the only kind of computer animated films were Disney’s. They’re good but once you get past the age of 12, there seemed to be a gap in the market. That gap was filled by Dreamworks and Shrek which gave enough simple plot and humour plus additional jokes that adults would get, you have the starting of what I witnessed tonight in Wales Millennium Centre – Shrek The Musical.

Returning to Wales Millennium Centre on the latest UK tour bringing Donkey, Lord Farquaad, Princess Fiona, Pinocchio and a cavalcade of fairytale characters together with the main man himself Shrek – played by Michael Carolan. If you’re not sure of the story of Shrek – well, spoiler alert – they live happily ever after, but getting there is a rollercoaster buddy movie type comedic spectacular.

If the original Shrek had references to other cartoons, well, Shrek the musical has references to other musicals – you might just spot a Wicked reference, a Lion King bit, and Cabaret all receive some mention in passing.

The music and staging is amazing, and before those reading that previous line mock in saying “it’s no Les Misérables is it”, well, it’s not meant to be. It’s the perfect musical for children from eight to eighty. A great introduction into the world of the musical, and a fab night out for all the family.

Special mention to Samuel Holmes (Lord Farquaad) who as the baddie of the piece pretty much stole each scene he was in – wonder how the knees will cope for the rest of the run though. Laura Main as Fiona had the right balance of comedy timing and exceptional vocals, as did Michael Carolan who played Shrek at the performance I saw. Joseph Dockree as Pinocchio was another performer who seemed to steal each scene he was in – yes, he is a real boy!

For a few hours you’ll transferred to a land far far away, wonder if you know the muffin man, and in the morning, you’ll be making waffles.

https://www.wmc.org.uk/Productions/2018-2019/DonaldGordonTheatre/shrek2018/