Tag Archives: Wales Millennium Centre

Review ‘Mamma Mia The Musical’ Wales Millennium Centre by Sarah Debnam

October 13, 2016 Sarah Debnam 1 Comment

Mamma Mia the musical opened at the Wales Millennium Centre in Cardiff this week and the buzz and excitement surrounding it meant that expectations were high.

Let’s start by saying the show began as expected, with Sophie posting the invites for her wedding to her three potential fathers, showing determination and emotion as she did so, a perfect opening scene and introduction to one of the main characters. We were also introduced to Lucy May Barker’s singing voice and what a voice! Brilliant!

We then meet Sophie’s friends, Donna and her friends and the other main characters, including Sophie’s Fathers. All of whom I think we’re perfectly fitting for their roles. Especially Donna. Sara Poyzer that plays Donna, had a hint of Meryl Streep in her energy, however a phenomenal voice to carry those fantastic ABBA songs to every corner of the room, and have every person there enthralled.

As the story moves on we were treated to classics such as ‘Money, Money, Money’, ‘Lay All Your Love On Me’, ‘Our Last Summer’ and of course the entertaining ‘Does your Mother Know?’ Which happens to be one of my favourite parts in the film, and Emma Clifford that plays Tanya did it justice. Also the men showing off their dancing skills and choreography was outstanding, especially Louis Stoical who plays Pepper with his jumps, energy and humour!

It’s worth noting the simple but very effective scenery and spectacular costume designs, as well as the incredible orchestra really bring the whole thing together.

Of course the show had to find its ending sadly and even though it’s hard to compare the stage show with the film, the wedding preparation and wedding certainly lived up to expectations, ‘Slipping Through my Fingers’ no doubt caused a few teary eyes and certainly felt like a special moment.

The party like atmosphere at the end had everyone up from their seats dancing and singing along to ‘Dancing Queen’, inhabitations lost and I’m sure everyone left that room feeling great!

The audience were clearly hooked from beginning to end, with oohs and ahhs and plenty of laughter, the cast did an absolutely amazing job of entertaining everyone last night, and even though the film was a hit, this show was funnier, livelier and had more energy. I can understand the buzz surrounding Mamma Mia now, and might even try to catch it again before it leaves Cardiff!

Opera & classical

Review Macbeth WNO by Barbara Michaels

September 11, 2016 Guy O'Donnell Leave a comment

All photographic credits Patrick Redmond

(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 was described by Verdi himself as ‘One of mankind’s greatest creations.’ Oliver Mears’ gripping modern day production for Welsh National Opera, in conjunction with Northern Ireland Opera, holds its own, opening up a huge range of interpretations on account of its deep psychological reference.

For those unfamiliar with the play on which it is based, Macbeth is a soldier whose wife’s aspirations of greatness are his downfall, leading to his ultimate death. Returning with his friend Banquo after a successful battle, he meets a coven of witches who predict that he will become firstly Thane of Cawdor and then King of Scotland, but that it will be Banquo’s children that subsequently inherit. On arriving home, Macbeth tells his wife who informs him that Duncan, the present King of Scotland, will be visiting and staying the night. Duncan duly arrives and announces that he is bestowing on Macbeth the title of Thane of Scotland. Not content with that honour, Lady M. sees this as the perfect opportunity to kill him and thus make the second part of the witches’ prophecy come true. She easily persuades Macbeth to murder his monarch while he is asleep, but the killing doesn’t stop there.

A balletic opening with the witches grotesquely portrayed as shaven-headed mannequins, and grey-haired humpbacks gets the action started before Spanish baritone Luis Cansino appears in battledress as Macbeth. The appearance of Lady Macbeth in Scene 2 leads into the first murder, followed by the duet which Verdi himself described as being of major importance. The justly renowned chorus of the WNO are increased in number with extra singers in order to cope with different guises which include not only the witches’ coven, but ghostly apparitions, and others, including in the final act refugees from the havoc caused by Macbeth’s widespread killings of those he sees as threats to his rule.

Sung by American soprano Mary Elizabeth Williams, this Lady M is a ballsy, modern woman, sexy even at her desk and displaying her thighs with calculated intent. This is a power-crazy female who will stop at nothing to get what she wants. Williams has the demanding role to a T, fully in control from start to finish; not until the final act do we see the cracks in the surface which reveal the deep underlying psychological problems as lady Macbeth sleepwalks, rubbing her hands to rid them of the bloodstains no longer there and singing broken phrases opening up into great arches of song. Musically, Williams is superb, with a soaring soprano that takes the breath away, both in breath-taking solo arias and duets with Macbeth.

Set and costume designer Annemarie Woods has created a minimalist Scottish castle and a wood that moves, plus costumes with swinging kilts. There are, however, two provisos – Duncan’s costume of bright blue jacket, knee-length white socks topped off with a gilt crown is a tad pantomimic, while the dark kilts and gilets worn by the chorus in the final act are reminiscent of school uniform.

Runs: September 15, 17 and 24^th; October 12^th; November 2, 9 and 23rd.
Macbeth Welsh National Opera at Wales Millennium Centre
Opera in four Acts based on the play by William Shakespeare
Music: Guiseppe Verdi
Libretto: Francesco Maria Piave
Director: Oliver Mears
Reviewer: Barbara Michaels

Dance, Music, Musical, Theatre

Review Chicago Wales Millenium Centre by Barbara Michaels

July 26, 2016 Helen Joy Leave a comment

CHICAGO
Music and lyrics: John Kander & Fred Ebb
Book: Fred Ebb & Bob Fosse
Choreographer: Ann Reinking
Musical Director: Ben Atkinson
Reviewer: Barbara Michaels
(4 / 5)

Red-hot and sizzling, the multi-award winning musical Chicago, based on real life events in 1920s US, is back at the Wales Millennium Centre and judging by the bookings as popular as it was when it came here four years ago. With its theme of greed and corruption, the contemporary relevance doesn’t need to be spelled out although the main action takes place on Death Row, where nightclub singer Roxie Hart is standing trial for shooting her lover and the feisty Velma Kelly is up for double murder. Strong stuff indeed but the dark undercurrent of the story and plotline cannot be ignored, and neither should it be.

But – moving on – this is musical theatre, so let us not dwell on this. The wonderful musical numbers, toe-tapping and fast, are what makes this show so popular, along with the fast-paced choreography. Chicago is above all a showcase for the original choreography of the legendary Bob Fosse. The tunes come thick and fast, plunging straight into it with All That Jazz in Act I and never letting up, and the dancers amazing…

Chicago has been performed on stage countless times, plus the memorable film version starring Catherine Zeta-Jones, and every director understandably wants to put his or her own mark on it in terms of character portrayal. Hayley Tamaddon is a low key Roxie with an air of fragility about her that belies the fact that this is one tough lady who will stoop as low as it takes to escape the death penalty. Although Roxie’s story is pivotal, it is her opposite number Velma who is the strongest here and Sophie Carmen-Jones give the role her all in no uncertain manner, displaying a versatility and, in Act II, an acrobatic ability that is truly amazing. While Carmen-Jones has the character to a T, Tamaddon’s Roxie is at times almost girl-next-door in her naivety.

Alternating in the role of Prison Matron Mama Morton, who believes in looking after ‘her girls’ – as long as her favours are reciprocated – are Gina Murray and Sam Bailey. Murray’s Mama threatened to bring the house down on press night as she belted out the iconic When You’re Good to Mama full throttle. Great stuff! A clever little cameo too by Francis Dee as ‘Not guilty’Hunyak. On the same evening, Kerry Spark took over the male lead in place of John Patrtridge, who was absent, in playing unscrupulous defence lawer Billy Flynn always on the lookout for number one and lining his pockets by defending about-to-be convicted murderers. Amos, Neil Ditt is an experienced actor who ‘gets’ the role of Roxie’s husband, the pathetic, incompetent and ignored ‘Mr Cellophane’ (to use the title of his song) off pat.

The staging is atmospheric and costumes a delight for the eye with deftly wielded chorus line feather fans in one of the later scenes, while the onstage orchestra under musical director Ben Atkinson, is superb, providing not only musical backing throughout but continuing to entertain after the show ends.

Runs until Saturday 30 July 2016

Dance, Film & TV, Theatre

Review Chicago, Wales Millennium Centre by James Briggs

July 26, 2016 James Briggs

(4 / 5)

“Murder, greed, corruption, violence, exploitation, adultery and treachery…all those things we hold near and dear to our hearts “and so Cardiff welcomes the touring production of Chicago. In a first for the Wales Millennium Centre the smash hit musical Chicago has arrived to entertain packed audiences. Chicago is based on the real life events in the roaring 1920s. A nightclub singing sensation Velma murders her husband, and Chicago’s smoothest lawyer, Billy Flynn, sets out to act has her defence. But when Roxie ends up in prison on similar charges, Billy takes on her case too, turning her too into a media sensation. Neither of the two women will be surpassed in their fight against each other for fame and celebrity status.

As the audience sat down before the performance an announcement was made informing us that John Partridge who plays lawyer Billy Flynn would not be performing due to ‘unforeseen circumstances’ and therefore the role would be played instead by his understudy Kerry Spark. Despite the obvious disappointment by some audience members we needn’t have worried as Kerry Spark gave an excellent performance.

This revival tour of Chicago showed a whole different side to the show by stripping the production back to its bare bones, with a full band positioned on a podium on stage, minimal costumes on the performers and some chairs. As an audience member, you seem to have the feeling that the music is the main star of the show and the thing you should be concentrating on most of all.

In the performance, Sophie Carmen-Jones played Velma Kelly, the tough performer awaiting trial for the murder of her husband and sister. Sophie Carmen-Jones delivers a brilliant Velma who is very confident and self-assured but still beneath her many layers is highly vulnerable.

Hayley Tamaddon is utterly sublime as Roxie Hart. Hayley Tamaddon brings out a different version of Roxie with slightly more comedy and shyness in Roxie than audiences will not have seen before. There are many moments during the performance where Roxie really comes into her own and shines like a star.

In my opinion, the two leading ladies are perfectly matched and when they come together and perform the ‘Hot Honey Rag’ to the end of the show they are wonderfully in synch with each other bringing a smile to every audience member.

The Matron of the Cook County Jail, Mama Morton was played by Gina Murray. The role is usually played by former X Factor winner Sam Bailey however she took a break from the tour. Gina Murray was brilliant as Mama Morton and has a good mix of being stern and kind to the inmates. Her performance in the song ‘When You’re Good To Mama’ was amazing and received a loud applause from the audience.

One of the real stand out characters during the musical was A D Richardson as Mary Sunshine. Each line of the song ‘A little bit of good’ is presented with a strong sense of carefulness and delicacy. It’s an extremely gruelling role that can be extremely difficult to sing night after night, but you get one of the best vocal performances I have seen. Without giving a major plot spoiler away it is unbelievable how good the characters voice is considering the circumstances.

Roxie’s all loving and walked upon husband Amos Hart is played by Neil Ditt. Extremely well performed, the character is worked, used and mistreated by Roxie and Billy but it is a truly wonderful performance by Neil Ditt and this is especially shown in the song Mr Cellophane which demonstrates to the audience how this extremely bland man is constantly striving to be noticed by others.

‘The 6 marry murderesses of the cook county in jail in their rendition of the cell block tango’ are outstanding with the cast consisting of Sophie Carmen-Jones, Lindsey Tierney, Ellie Mitchell, Nicola Coates, Frances Dee and Chelsea Labadini. This performance is very powerful and each character portrayed is very different with a stand out personality that draws in the audience.

It would be very wrong to not mention the utterly divine band for the performance led by the fantastic Ben Atkinson. It truly is the icing on the cake for this touring production. All through the show the energy levels of the band were extremely high and the music blasted out around the Wales Millennium Centre. The two real highlight moments of the band was during the Entr’acte and Playout because it was then they came into their own. Ben Atkinson was conducting upside down leaning over a wall and climbing over the staging while leading his band. He finally ended up draped over the piano upside down with his band dancing around the stage. An utterly amazing performance.

https://www.youtube.com/watch?v=jyVeSC1GYTw

You don’t want to be ‘Mister Cellophane’ so make yourself seen and go and watch Chicago: The Musical at the Wales Millennium Centre. The musical is showing between 25^th Jul – 30^th Jul 2016. Tickets are selling fast so please make sure you get them via this link-

https://www.wmc.org.uk/Productions/2016-2017/DonaldGordonTheatre/Chicago15/

Art, Film & TV, Literature, Museums & heritage

Creative Cardiff Pop-Up Hub: Reflections on Hub Environments for the Arts

July 1, 2016 Amelia Seren Leave a comment

All images taken from social media linked to the project

In the same week that it was announced that Britain was leaving the EU, free-thinkers in Cardiff were exploring new and innovative ways for arts professionals to work together as part of the Creative Cardiff pop-up hub.

From the 20^th-24^th June selected creatives occupied a temporary pop-up workspace in the Wales Millennium Centre as part of an initiative organised by Creative Cardiff. Sara Pepper, director of Creative Economies at Cardiff University, was a key organiser of the event having researched existing approaches to creative hubs both within, and outside of Wales. Pepper champions ‘hub’ models as potential centres for innovation within the Cardiff creative economy. Sara Pepper has authored a blog post in which she outlines her research which you can access via the link below:

http://blogs.cardiff.ac.uk/creative-economy/2016/06/16/a-creative-hub-for-cardiff/

Creative Cardiff is an online network of practicing creatives in the Cardiff area initiated by a team at Cardiff University. The network went live in October 2015 and already currently has a membership of over 550 practitioners.

This form of online network has already proven useful to both my peers and myself, practicing within universities as well as on a freelance basis. Organisations such as EMVAN (The East Midlands Visual Arts Network) provide valuable access to creative opportunities and share relevant events information, thus implementing a meeting of like-minded practicing creatives and audiences alike.

What Creative Cardiff achieved in this recent venture is to demonstrate that the hub environment prompted an acceleration of the outputs of its occupants whilst retaining its supportive values. There are early indications that hubs may prove to be beneficial to the development of creative networks and productivity within the city. That these values could be propagated successfully within the physical space of a hub supports the demand for more dedicated collision spaces for creatives, which could support existing online networks.

“Our network aims to bring together people from across the full breadth of the city’s creative economy – from dancers and marketing professionals to architects and app developers. By collaborating and sharing ideas we want to encourage more innovation and creativity in our city” – Creative Cardiff.

Reflecting on my own experience of working in the hub, I found the pop-up nature of the arrangement provoked thought and reflection on the nature of the co-operative working arrangement rather than focusing on the development of individual creatives. This differs from the way in which arts students or employees within other creative industries are usually encouraged to practice, and on the surface seems to contradict productivity. Although the arrangement of the short-term hub might have been initially disruptive, established examples have indicated that co-operative working increases productivity – hence Google’s eagerness to provide exciting, open workspaces for their employees to work collaboratively.

I found the group was particularly concerned with how professionals from various creative fields might gather to achieve the aforementioned aims of Creative Cardiff, whilst still continuing to realise autonomous objectives within their own creative practices. Countless discussions were had on the topic, and throughout the week questions were raised regarding the benefits, physical design, core values, social and creative impact of working in this way to name but a few. Issues such as these are often interrogated on occasions where creative practice mingles with academic insight.

A particularly successful feature of the pop-up hub was the daily ‘Provocation Sessions’ provided in the mornings within the hub space. During these sessions, the hub members were invited to hear professional reflections on the nature of creative spaces and productivity and discussion on these topics was encouraged. We heard from a range of speakers including Prof. Wayne Forster of the Welsh School of Architecture, Clare Reddington and Jo Landsdowne of WATERSHED (Bristol) and Prof. Jonathan Dovey, UWE Professor of Screen Media and director of REACT. Such sessions provided an opportunity for focused learning and interaction amongst the hub members that I believed complimented more casual encounters experienced in the joint space.

I found Prof. Jonathan Dovey’s insights regarding the hub as a creative eco-system especially informative and motivational. His experience has demonstrated that hubs can provide instances of exchange, impacts and continued mutual support amongst their occupants. Dovey placed particular emphasis on the benefits of shared values within creative hubs, such as generosity, openness, trust and excitement.

It is the presence of these shared values, possessed by the members of the pop-up, which contributed towards the success of the Creative Cardiff hub, and defined the unique and progressive environment that I experienced as a member.

With the project only spanning over a short week, the conditions of the hub could not be established in the way in which an organically cultivated hub space might. However, many would agree that the potential for development and continuation of the project was evident. Through research carried out by Cardiff University, we can be positive the project has contributed to the development of creative hubs in Cardiff in the future. As well as this, I hope there is recognised potential for such hubs to become part of an interconnected network of creatives spanning Wales, the UK, and even Europe and globally.

Perhaps the potential of a hub network is way in which creatives can demonstrate that, despite established individualist tendencies, we are in fact better together.

To view Amelia’s Creative Cardiff profile, please follow the link below:

http://www.creativecardiff.org.uk/users/amelia-seren-roberts

Twitter: @amelia_seren

Theatre

Welsh Playwrights, An interview with Tony Wright

June 19, 2016 Guy O'Donnell Leave a comment

Get the Chance values the role playwrights living and working in Wales bring to the cultural life of our nation. Here is our first interview in this series with Welsh playwright Tony Wright.

Hi Tony great to meet you, can you give our readers some background information on yourself please?

Sure, so my name is Tony Wright my dad was Jamaican and my mum was Welsh and is from the Valleys. I grew in in Tremorfa, which is near to Splott in Cardiff. I left school without any formal qualifications.

So what got you interested in writing then Tony?

When I was 14 my sister brought a book home the Contender, it was a boxing book and this was the first book I picked up myself and was interested in. This developed an interest in literature for me so I then started to go to the library myself to read. Inspired by the book I tried boxing but it wasn’t really for me, it was too painful!

When I was 16 my friends formed a band called Level Vibes and I was the guitarist. I didn’t stay with the band for very long and I quickly realised that I couldn’t really play guitar but I could write lyrics, so I started to write lyrics for the band. I wrote a couple of things and my claim to fame is I wrote a song for a Benji Webb who now fronts the band called Skindred. Benji cut his first 12-inch single for a song I wrote called ‘Plant a Seed.’

http://www.barddgriot-productions.com/#!eyes–dont–lie-bottom–page-plant-a-see/ctc7

That’s a great claim to fame! So what did you do then?

I realised then that I could write! I set up my own band Digital and we did a few gigs at Grassroots in Cardiff. Which is a drop in youth centre with a music studio, an excellent place! Two of my songs stayed in the set for Level Vibes and their profile really developed they were talked about as the Welsh UB40. Level Vibes members also included rap poet Leon Charles

http://www.walesonline.co.uk/news/wales-news/1970s-butetown-in-photos-2075339

http://www.literaturewales.org/writers-of-wales/i/129552/desc/charles-leon/

Digital didn’t really take off and when I was about 30 I was offered the chance to access some adult education courses and went to the Friary and Coleg Glen Hafren in Cardiff I learnt during the adult education courses that I was dyslexic. I think dyslexia wasn’t as widely known then. My tutors informed me I should have had an A grades but because of my dyslexia I got a C’s, which made me really angry and frustrated. I continued to want to learn and managed to get to university and studied a combined studies course on Media, History and Cultural studies. Much of my studies were based on subcultures and Rude Boy culture. During the course I learnt about scriptwriting. Again my tutor informed me that they thought I had dyslexia. I had a test and was diagnosed with severe dyslexia. I realised I if I had have been diagnosed earlier I would have received support but I didn’t and still don’t let my dyslexia hold me back.

Whilst on the course I wrote my first full-length script called ‘Climbing Out’ about a mixed race guy from Splott who was given the chance to move down to Cardiff Bay. I thought it was good and I just had to do something with it. So I went to Splott with no money just my script and spoke to people on the street and asked them if they wanted to be in my film! John Allen who worked at Chapter supported me; he very kindly gave us a space to work in. We booked the YMCA in Splott for 4 nights and it was one of the best things I have ever done. It was hard and a struggle we funded the performances ourselves with some in-kind support. At that time there wasn’t many mixed race black actors seen acting in Wales. The audience loved it, they where mainly the community and friends. For lots of the audience it was the first time they had seen a play with people in it that they could identify with and they said, “We want to see more!”

To do that yourself takes a lot of drive and ambition Tony, did you approach the Arts Council of Wales or similar organisations for funding or support?

Yes I went to Arts Council Wales for funding but I was unsuccessful in my application at the time, as I didn’t have 2 years trading or bank accounts. This was a barrier for me but they were flexible and asked to see if I had some evidence of trading. From then on we started to develop a relationship and discuss how they could support me. Since then I have had lots of support from ACW officers Jennifer Stoves, Melanie Hawthorn and Nick Davies. They know my work and me.

So with the success of your first play I wonder if you then wanted to develop your play writing skills?

Well they say to write about what you know so… my next project developed out of my knowledge of Reggae sound systems and Rude Boy culture, music was and is the thing that brings lots of my friends together. ‘Rude’ is became a Ska musical about a mixed race guy in Cardiff called Roddy, the play focus’ on him looking back at his teenage rude boy-self and the characters, culture and music that informed his youth.

The cast of Rude

The project developed when I met with a guy called Dave Norton and James Williams. I met Dave in a bar and we got talking and I found out that Dave was an actor and producer with his own theatre company called ‘Give it a Name.’ We started working on it together in 2009 it was produced twice in 2009 and 2012, the second time as part of Black History Month. The play featured Shekira Johnson, Brent Morgan, John Norton, Dean Rehman, Joe Shire, and Olly Wood. James Williams who is a Musical Director was also the plays director. We performed it in the Rockin’ Chair Bar and Grill, in Riverside, Cardiff which was a Caribbean restaurant.

Performing it there meant we took theatre into a place it’s not normally shown. It was all staged in the restaurant. There were people sitting eating and the play was happening around them. The actors improvised with the audience it was excellent. There was one part of the show where the cast pretend to fight and one of the local bouncers jumped in to stop the fight thinking it was real! We had to say, “No Dave mate it’s a play!” James also got the excellent band together. They were Jenny Bradley, Fran Dimech, Chay Lockyer, Eric Martin Jr, and Gregg Price.

I love the fact that the production was performed in a restaurant and not a traditional theatre space and really involved the audience. So to bring us up to date what have you been up to recently?

Well I am 53 I have been thinking to myself no more Art stuff. All my mates are retiring and I am thinking about getting a job! I started doing some voluntary work at Butetown History and Arts Centre and enjoyed meeting the different people that use the building. Whilst volunteering there I supported a project with MIND and a campaign called ‘Time to Change’ I was approached to work one project called Mental Notes – Beyond Words. I developed a piece of drama called ‘The Prisons Within’ I personally know a lot of people who have gone to prison with mental health problems and the importance of getting help. The play is set in a prison with two men in the same cell. In turns out one has OCD and one has depression. Del Lusion is one character and he is a symptom of mental health problems. He winds up the other character in the play. During the play the two characters get to know each other and talk about how they ended up in prison.

The Prison Withins cast members Paddy Faulkner and Jason Camilleri

The play ends on a positive note and shows that you need to talk if you have mental health issues. The play was performed by actors Paddy Faulkner, Robert Marrable and Jason Camilleri and directed by Jemma Llewellyn

With the play I don’t offer any solutions to mental health problems I just offer a space for people to be aware of these issues in society, which I think, is one of the roles of writers and artists.

Sounds great I believe the production is going to be staged again soon? When will we be able to see the production Tony?

The play will be performed at The Wales Millennium Centre on Thursday the 30^th June at 7.30 pm. The cast for this performance will include Jonny Hollywood/Robert Marrable and Paddy Faulkner. It will be directed by Jason Camilleri.

The play will also be performed at Parc Prison, Bridgend as part of their staff training next month.

If you would like a free ticket go to my website and send me a message. http://www.barddgriot-productions.com/#!lets_talk/con8

One of the reasons I formed my company Barddgriot- Productios was to maintain working with a talented multi-cultural team of people living in and working in Wales. As I have mentioned I have had the pleasure of working with a wealth of talented people in my career. I have also been supported by people like Director Greg Cullen who directed a short play I wrote at the Royal Welsh College of Music and Drama. I hope to continue to work with more of the brilliant artists and writers in Wales in the future!

http://www.barddgriot-productions.com

Thanks for your time Tony

Dance, Theatre

Review Billy Elliot WMC by Gemma Treharne-Foose

June 16, 2016 Gemma Treharne Foose Leave a comment

(4 / 5)

Fans of the original Billy Elliott movie, also directed by Stephen Daldry can expect a little bit of extra magic from the Wales Millennium Centre’s hosting of the hugely successful Billy Elliott production.

Charismatically led by the mesmerising young actor Lewis Smallman, the show takes us on a pleasing detour from the original film script. We not only see brand new additions to the story but lengthier explorations in to the characters of Billy’s Mam, Nana and Michael (who you may remember has a penchant for his sister’s clothes and has a soft spot for his friend Billy). There are plenty of cheeky exchanges and gritty working class banter courtesy of the superb ensemble cast and the kind of unguarded and politically incorrect observations and comments reminiscent of drunk uncles or grandfathers at Christmas. This was the eighties, after all!

The show respectfully and tastefully contextualises a time of great fear and a sense of national panic about the fate of mining communities, punctuated by the innocence and childish sense of fun of Billy and his fiend Michael. The two battle with conforming to the unwelcome stereotypes and limitations placed upon them in the masculine mining communities during the miner’s strike. Throughout the whole production, the community is at war with the police on the picket lines and the sense of hatred towards Margaret Thatcher is palpable. There are sprinklings of ‘Maggie Maggie Maggie Maggie – out, out, out!’ chants, naughty jokes, insults, political Thatcher and Heseltine puppets and an incredibly designed giant Margaret Thatcher (milk snatcher) model emerging from the stage at one point, which will remind you of the ‘Spitting Image’ years. There is a simply spectacular scene where Billy and his ballet classmates are in the middle of a lesson while dancing coppers clash with picketing miners…the story telling in Darling’s choreography, use of pace and the physicality of the actors was a powerful highlight for me.

I loved the additional scene in the musical where Andrea Miller’s character Nanna paints a picture of what life was like for women when ‘men went out to mine’. For all the much-romanticised community spirit and camaraderie of the mining men…life was pretty shit for the women left behind.

Nanna’s rebelliousness and Joie de vivre as she literally gives the finger to gender stereotypes and misogyny is infectious and this nod to gender politics and male chauvinism was later echoed when Billy caught Michael trying on dresses. Michael innocently asks ‘What’s wrong with being dressed as a girl?’, as if dressing as a girl is worse than actually being one. There is a fantastically camp and cute scene where Michael and Billy deliver an incredible call to action during their energetic and playful dance piece: be who you want to be – dress and all!

While Daldry’s movie gave us pacy cinematic editing and a razor sharp script, it’s fair to say the script for the on-stage production doesn’t quite match the quality of the original film script. Some of the lyrics and exchanges are a little simple and at times clichéd. On the first night of its long run, some of the Geordie accents were a bit ropey and there were some sound issues with a creaking set BUT we are more than compensated with incredible choreography thanks to Peter Darling. This is a real shot of adrenaline in the arm and a classic feel-good show. Go see this show, take your Mam…wear a tutu, even – you won’t regret it.

Title: Billy Elliott
Venue: Wales Millennium Centre
Dates (15th June-16 July), PN 15th June.
Book and Lyrics by Lee Hall
Director: Stephen Daldry
Design: Ian Macneil
Technical: Costume by Nicky Gillibrand; Lighting by Rick Fisher, Sound by Paul Arditti.
Cast includes: Anette McLaughlin, Martin Walsh, Andrea Miller and Scott Garnham.
Producer(s) Tim Bevan, Eric Fellner, Jon Finn and Sally Greene.
Running time: 3hrs

Music, Theatre

Review Piaf! The Show Festival of Voice WMC by James Briggs

June 12, 2016 James Briggs Leave a comment

(4 / 5)

Cardiff welcomed one of France’s most famous singers in the form of ‘Piaf! The Show’ as part of the Festival of Voice event in association with ‘Directo Productions’. ‘Piaf! The Show’ celebrates the centenary of Edith Piaf’s birth and is a wonderful production that sees French singer Anne Carrere filling the impeccably large boots of Edith Piaf. Edith Piaf holds very special memories for me as my family and I would regularly go on holiday to Jersey. When I was four I asked the hotel pianist if she would play Edith Piaf’s ‘Non, Je Ne Regrette Rien’. The pianist as well as my family were astounded at my request, but as we would return year after year to the same hotel every time I walked into the hotel the pianist would always play the song for me and even gave me some of my first ‘piano lessons’.

With a packed line up of almost thirty songs we are taken on a musical journey of Edith Piaf’s life starting firstly in Act 1 with the beginnings of Edith Piaf singing in café’s for customers and serenading people alongside the River Seine. However, Act 2 is totally different with the show changing into a concert style performance and Anne Carrere’s performance as Piaf is totally mesmerising. There were countless famous numbers included allowing the audience to sing along with the music. The settings used on the stage were minimal yet extremely effective some of which being a streetlamp in Montmartre, seedy clubs of Pigalle and even the world famous Carnegie Hall in New York.

While performing on stage Anne Carrere was backed by a live band simply made up of a piano, doublebass, drums and the most amazing accordionist Guy Giuliano who was simply outstanding. The songs performed were a great mix from the well known such as Jezebel and Autumn Leaves and those not so well known to me such as ‘Bravo Pour Le Clown’, ‘Milord’ and ‘La Foule’.

The audience were left feeling as though we were watching the show in France as it was all in French. I really enjoyed the use of French as it brought more meaning to the music and made the portrayal of Edith Piaf by Anne Carrere even more special.

For those who have listened to Edith Piaf’s music you will know that she had a very specific sound to her voice and this is extremely difficult to impersonate, however, Anne Carrere manages to exemplify not only the spirit of the singer but also her unique sound. The legendary vibrato is captured with precision and even when dancing with men she had picked from the audience she stayed in character and didn’t let the accent go for one second.

The setting was also very effective in that during the singing a large projector at the back of the stage showed photographs of Edith Piaf through her many stages of life. Simple sets of a streetlamp alongside a park bench, bar and cafe tables provide the audience with a visual aid when listening to the music and following the story. This created the most fantastic atmosphere for the audience but the music with Anne Carrere alone is enough to entertain any audience and the enjoyment on stage was infectious.

For me this show was a dream come true and is the closest I will ever get to watching Edith Piaf singing her music live. It was therefore a terrible shame that the audience was so small in number as the performance deserved a packed audience. However, this did not deter the audience giving Anne Carrere and her band a standing ovation which was very well deserved.

I would recommend this show to everyone whether you are a fan of Edith Piaf or not as it is simply a wonderful celebration of all things French and the fabulous Anne Carrere is outstanding and I am sure when she performs at Carnegie Hall in New York I am sure she will be loved there also. If you ever get the chance do not think twice about buying a ticket as it is a must see show and your guaranteed a wonderful night out. Merci Anne Carrere vous étiez un artiste incroyable et vraiment fait Edith Piaf fier!

https://www.youtube.com/watch?v=GuxAeSihdgs

Merci d’avoir lu mon commentaire sur le fantastique Piaf ! Le spectacle.

Literature, Theatre

Project Review, Making It! by Helen Joy

May 13, 2016 Helen Joy Leave a comment

Parama 2 Making it – LIVE!

A review of the programme of scripting workshops leading up to and including, the production: by a participant.

A small group of women of a certain age gather together in the curious spare rooms and spaces of the Wales Millennium Centre every Tuesday afternoon for 9 weeks.

March 15th

We introduce ourselves cautiously to our facilitators, Valmai Jones and Catrin Edwards; and to each other. Why are we here? Personal growth and development, honing skills and learning new ones, changing paths, making connections. A mixed bag of skills too–clowning, illustrating, writing, performing, acting – and a fair few years of life experience to boot. We watch Catrin’s film, Voices From the Factory Floor, with extra voices from the WMC breast cancer charity fashion show below. A heady mixture of women’s words on a Tuesday afternoon.

Responding to the characters in the film seems easier to some than others. Some slip into roles easily; others struggle a little; I have no idea how to pretend and can only be me. I am astonished at the ease with which our group brings life and animation and speech to these women we have only glimpsed, sometimes second or even third hand. Real stories slip out so naturally hidden in the make-believe.

Now, Val employs a little trick each week. Relaxation exercises for the body and the brain with closed eyes. Her mellifluous Welsh lilt calms our nervous spirits and revives our inner creativity. Staring intensely at paper mandalas to free up our right brains – mind over myth – becomes part of our shared experiences, part of bonding the group and comforts changes with consistency. This is neat.
We play a kind of Consequences – throw our titles into a hat, pick one, write some lines, pass it on… we read them out – remarkably adept little stories, tight, funny, sad, clever but mostly text, not so much dialogue.

As the weeks roll on, we learned to examine characters and how to bring them to life through words and play. We had homework: write up your character – give her life. Give her words to say. And playlets form with monologues, dialogues, complex scenarios. Characters cry, laugh, shout and dance. Some of us stay with the themes of the film; some use the Consequences storylines; others choose something new. Somehow, perhaps not surprisingly, we all talk about the influential women n our lives.

I struggle with reading out my words, my dialogue. And the first time it matters, I can’t do it. I am ten years old and I will be humiliated. I hand my script to Val. She is so kind and talks me through ideas and scenarios and builds my confidence.

The call goes out – posters are ready, the time and date is set – we will be performing at 3pm on the 9th May in the Preseli Rooms at the WMC. Tell your friends and families.

I write a script over an evening. I have been mulling over the idea for a few weeks now without realising. I cannot face reading it. I wonder how the others are managing.

May 8th

Rehearsals. It is a beautiful, hot sunny day outside and we are all inside, fretting over scripts, tripping over stage hands and working with professional actors. This is getting very real. We are called to the stage, Val is acting and Catrin is directing. We are multi-tasking at a superhuman level.
I cannot open my eyes when they start to read my play. Gradually, I uncurl and watch and listen and begin to edit and critique and love it. Not love my work – but love the process. I discover acting is a joy – to be someone else for someone else is a privilege. I try so hard to do it as well as I can. Everyone else seems so much better at this but inside, I guess, we all feel the nervous.

May 9th, 3pm

Somehow, out of all the chaos, a slick series of plays is presented to a small but hugely appreciative audience. All credit to Catrin and Val for their inspiration and facilitation. All credit to the actors and stage hands for adding that professional edge.
And to us? Well. We pulled it off.

The audience, mostly made up of women from Voices from the Factory Floor, has enjoyed our efforts very much. The plays remind them of conversations had with their own mothers, fathers, daughters and friends. One said that we hadn’t needed scripts to read – that we could have just chatted amongst ourselves on stage – and there I see the compliment, our work was natural, candid observation with each of us adding our own personalities and quirks to tell tales. Not perfect but gentle, the work of women who have been there.

I am not alone in being relieved yet ecstatic as the event closes but oh so sorry that this series of workshops is not continuing and that we are left to go our own ways with our words.

The project was supported by Age Cymru’s Gwanwyn Festival which is funded by Welsh Government and Arts Council of Wales, WI in Wales and Women’s Archive of Wales

http://gwanwyn.org.uk

http://gwanwyn.org.uk/events/making-it-free-drama-scripting-workshop-for-older-women/

http://gwanwyn.org.uk/events/parama2-presents-making-it/

Dance

Review Sleeping Beauty Wales Millennium Centre by Patricia Stowell

May 9, 2016 Patricia Stowell Leave a comment

Patricia is part of the Time Credit network supported by Spice. She accessed her tickets through volunteering in her local community.

(5 / 5)

Many volunteers and Spice Time Credit users recently had an unexpected and very welcome trip to the ballet Sleeping Beauty. Wales Millennium Centre had generously offered tickets to be used by members of the community who could ‘pay’ with their well earned Time Credits. The tickets were quickly taken up and many had to admit that they had never seen a ballet and some had never visited the WMC before so what an opportunity this was to get close up and personal to a fabulous performance.

But this was no ordinary Sleeping Beauty. The Matthew Bourne production was full of colour, movement and energy performed to the well known music by Tchaikovsky. It was a gothic tale for all ages, a love story fraught with curses and spells. The costumes were outstanding, from the very first scene setting the christening of Aurora with a life-like puppet of the baby girl drawing in the audience from the beginning. We watched as the familiar fairy tale of a young girl cursed to sleep for one hundred years was enacted and danced through various scenes.

As Aurora grows up, we were taken through the fashions of the day, including a genteel tennis game followed by afternoon tea on the lawn, watching the antics of her suitors as they tried to gain her attention. Years later, when Aurora wakes up, we are in the modern world, still beset with many temptations and sinister goings-on.

It was an outstanding performance, full of magic, fairies, vampires, love and romance, danced by incredible dancers . There was certainly no falling asleep during this performance.

Thank you once again to the Wales Millennium Centre for giving us the opportunity to experience a beautiful and amazing ballet.

Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw