After seeing Sweet Mambo back in February, I suddenly realised I had to engage with more work of late Pina Bausch. The impact she has had on me is profound, some of the finest work I have seen in London.
Within Kontakthof – Echoes of ’78 lies a conception and direction by Meryl Tankard, in the journey of honouring the original work. Kontakthof first seen at the Opernhaus Wuppertal, 1978 and we see this absorbing, black and white archival footage throughout. You can even hear the sarcastic applause then, as it was created was redefining what dance can be. Bausch and Tankard prove that dance can essential be any form of movement. The village hall set it compelling, the music is heavy on melancholic German cabaret numbers and the costume appears to be nightwear for the ladies and evening attire for the gents. They all thirst their hips, kick march on parade, fail and falter, clap, cry aside energetic passions together and alone.
What is most astounding is the return of these dancers who are from the original run in ’78. What I was not prepared for was the emotional weight of the realisation that a selection of these dancers have passed on. Through this, the doubles we see on screen are met with exact solos for those who remain. I found all this very moving, nearly unbearable. Granted, there are lashings of humour, I often found laughter and smiles abound from myself and this eager audience. How nimble these dancers remain in their 70’s (one or two were in their early 80s).
Welcome introductions faced the end of the first part, as these dancers sat, taking turns to talk briefly. We hear names, nationalities, pathos and the further resilience from all. In the interval I was so stirred, I wondered just how much more I could take of the feeling of it all. I loved just how simple, and flowing the movement was, screen mirrored the stage presence as this dance was always evolving. Naturally, men were in the hunt for the ladies, a mainstay theme in Bausch’s work. One sequence evoked Abramović’s Rhythm 0 as a horde of men manipulated one lone lady, as if a rag doll. Very disturbing.
The second half was much shorter, I imagine the dancers needed a form of rest after a welcome twenty-five minute interval. This might be the best work of dance I have ever seen, I don’t think anything may come close. I’m reeling…..
In what is the strangest thing I’ve see at Wigmore Hall came a delight and a disappointment. Bastard Assignments have been commissioned by Wigmore, Borealis – a festival for experimental music and Spor Festival also.
PIGSPIGSPIGS tells of the plight of a family of farmers, in a story not dissimilar to The League of Gentlemen, Roald Dahl and Monty Python. The father transforms into a pig, the build up to this is the all too familar plight of the farmers losing it all.
The company is made up of Edward Henderson, Caitlin Rowley, Josh Spear and Timothy Cape. Whilst there is good chemistry between them, they were in great need of mics, the long Wigmore setting may not have fared well for the extensive spoken passages. Yet, when they got weird it then became wonderful. Glass bottles, hoses, piping and a set of gardening sheers pressed upon piano keys (which is also a be all for the pig in question) are utilised to good effect. More of this! More ambient noise during the spoken bits as well. Their singing is also fair, the marketing would do well to expand on the folk horror of the whole thing.
I think the script might need some tweaking as well. Musicians don’t always make the best actors, but some of the one liners and physical moments the audience and I enjoyed. I think with much tighter direction and a much smaller venue this could be improved ten fold. Naturally, it would fare well at Edinburgh Fringe. The realisation of a pregnancy lead to an elgonated experimental phase which worked well, just a touch of a lighting change here would have beenp erfect. Said baby becomes the shock of the night, winks to the devastating end of Threads and Rosemary’s Baby. I can still hear that minature toy pig even now…..
Sundays in London are naturally dreary. Yet, you can always reply on Wigmore Hall for three concerts at the end of the week. What would prove most alluring is an evening slot with two musicians who have worked together for three decades.
Looking at both Jean-Guihen Queyras & Alexandre Tharaud you would not think this, as they appear quite young in appearance. Their playing matches this, cello and piano has never been so alive. A first half of Poulenc’s Suite françise was the starter and delighted with the slight wisp of irony. Cherry and also at times alarming, the delights never wain. Kurt Weill and his Youkali (arranged by both Queyras and Tharaud), is an attempt at the exotic, for place that is made up. Lyrics would be added later to Youlali, but it was evocative and played with heart by both.
Jean Wiéner and the Sonata for cello and piano is a discovery for me. Aspects of convention mingle with the discordant, in a often sharp, generous piece. Tharaud on piano was alert, with just as many hoops as Queyras faces. We need to hear more! The second half would be mostly straight through a roster of composers spanning three hundred years, at least. Alban Berg’s Vier Stücke was heavy to lead on with, though dynamic, a hypnotism to the ear. Schubert cleansed the pallet thanks to his Adagio from Arpeggione Sonata, musicaly smiling. Britten’s Cello Sonata saw highlights (the first and fifth movments), bouncy, serious and very much shared efforts between both.
Marin Marais was a breif detour to the baroque, the prelude from Suite No. 1 in D mi or (another arrangement by tonight’s players). A delight, which lead to French fare thanks to Debussy’s Cello Sonata prologue and familar Fauré in Sicilienne and Papillon. The Debussy was well met with the Marais, the Fauré is some of the most known, pleasent if a little clichéd. Would Bach have also faired well here? Ending with a handful of the 21 Hungarian Dances from Brahms (more arrangements), the first, seventh and the eternal fifth. All special and the famous fifth got both players over acting for laughs, which was great. Jean Guihen Queyras on cello is special, his destiny is to play it and he does so very well. The grandeur, the ease, the style!
‘Under Milk Wood’ is a challenge. It’s tackled regularly in Wales because there are not many plays that focus forensically on everyday Welsh life and, as far as I know, none written poetically. It is an extraordinary piece of writing, but this makes for a very unconventional play. Dylan Thomas sets the work somewhere that, on the face of it, like so many small towns, has nothing of apparent significance to offer the outside world – bugger all, in fact – but by the sheer pressure of his language transforms it into something remarkable and unforgettable. It’s as if he had followed Keats’ instruction to ‘load every rift with ore’ to the letter.
But that’s the problem. We are not used to modern-day poetic drama. Even if Llareggub (or Llaregyb – the production uses the town’s Welsh name) floats somewhere in its own particular mid-twentieth century time zone, the people of the town and their activities are the stuff of common or garden reality, not of fantasy or historical legend. To hear their everyday conversations and monologues shot through with a welter of idiom, word play jingles, sly metaphors and over-the-top imagery, is quite an experience. You have to listen carefully and take in what is being said to appreciate what is going on.
Poetry enriches the moment. It creates a charged atmosphere, and it builds tension via suggestions and reflections. Poetic drama does not require much in the way of mystery and suspense, but it can deliver within some very tight rules. ‘Under Milk Wood’ conforms to some of the classic restrictions. Its action more or less happens in one place and is described and discussed by two narrators. Everything takes place in the course of twenty-four hours, one Spring day. But you have to really go at Thomas’ text to turn it into a play works for a contemporary theatre audience.
Kate Wasserberg directing and Hayley Grindle designing adopt an approach which changes what Thomas wrote specifically for the radio into what looks like a kind of pop-up adult graphic novel, full of colour, surprise and ingenuity. All the episodes of a soap are compressed here into a reality show. The sweeping narration is delivered by all the members of the cast, meaning a variety of voices and accents take us into the heart of an average small community.
The production is given considerable muscle by performing members of Craidd, a Welsh collective which includes deaf, disabled and neurodivergent artists. Although there are only eleven of them, they create over forty characters. These characters are necessarily only sketched in but they, in turn, evoke the diversity of a whole community. Of course, this suggestive process is helped in this by names like Mrs Willy Nilly, Organ Morgan, Evans the Death, Gossamer Benyon, Nogood Boyo and Sinbad Sailors.
The cast perform the interconnected sketches that build up the circumstances of these characters with energy and wit in an even collaboration, each briefly coming centre stage. No one single performer hogs the limelight because no single story line is given preference. The only exception to this principle are the stand-out singers, whose solos in the second half add another dimension to the atmosphere.
There is no resolution to the various scenarios, no startling denouement to make a point, no deus ex machina. We know Miss Myfanwy Price and Mr Mog Edwards will never consummate their affair. Sinbad dotes on Gossamer Benyon, but she will never gobble him up. For all his plotting, Mr Pugh will never murder Mrs Pugh. Cherry Owen will continue coming home drunk, as his wife loves him drunk or sober and Butcher Benyon will continue tormenting his sensitive wife who believes his little lies. Mrs Ogmore Pritchard, twice widowed, won’t have a gentleman in from Builth Wells, preferring instead to live with the ghosts of her former husbands.
The only conclusion to what goes on in Llareggub (or Llaregyb) is night falling yet again on a kind of melancholy in which Capt Cat’s Rosie Probert is dead – like Polly Garter’s Little Willie Wee, who took her on his knee. In the dusk, the words ‘Thou Shalt Not’ speak from the wall while Lord Cut-Glass, in his kitchen full of time, listens to the voices of his sixty-six clocks, one for each year of his loony age.
Whilst there are frequent references throughout to social issues – ‘There’s a nasty lot live here when you come to think’ – and truisms ‘like Men are brutes on the quiet’ occur regularly, there’s no dramatic argument, no social or political message to get across other than,
We are not wholly bad or good
Who live our lives under Milk Wood
Dylan Thomas intended to paint an animated portrait of a place without ever judging it Theatr Clwyd’s production is faithful to his intentions in its own way. I don’t know how many stars to give it but it’s well worth seeing.
Out of all the discoveries made over the past few years, there are a few that really standout. Youtube and its algorithm is a mysterious thing. Yet, one day it showed me the music video for Canadian singer Begonia (real name Alexa Dirks) for ‘Hotter Than the Sun’. What followed was a riotous few minutes featuring puppets, the patter of keyboard typing, public service cinematography, glowing lights and retro CGI effects. The song was funny and singable, with fluffed up melodies. This was my introduction to Begonia.
https://www.youtube.com/watch?v=QX-PitOavBs
Seeking more I discovered a more recent album: Fantasy Life, related with Canadian label Birthday Cake. There is a candidness to these songs, unafraid to truly open up. What pains me is Begonia does not have a much bigger following. I’d die to hear her sing with Brits darling Raye or the opera inspired Rosalía. We hear her talk about getting high, working on songwriting, the modest quest for acclaim and nostalgic flights that might prove unbearable for some listeners. It is the accessibleness to her voice and of course, the openness that really rings.
https://www.youtube.com/watch?v=4aiW23S_xt4
Whilst ‘Hotter Than the Sun’ is a stand out, several other songs also are noteworthy. ‘Deep Cherry Night Funk’ (the music video also features more puppets) is one for a late night club or as the video would suggest, a long drive to nowhere. Out of my control is much more sombre in tone, with soft piano chords and touching maternal instincts. ‘PLB’ follows with dance like vibes and more curt directness over fallouts and letting go. ‘In My Lifetime Part 2’ starts of in a more garage style leading to words of dissociation. The opener and first part of ‘In My Lifetime’ has brief droplet keys and warm poetry in its wistful yearning. ‘So High’ is an other gateway song, it’s funk is stellar and its easy going aura is a balm. Others are also very listenable and this discovery for me still holds up.
With her European tour now in the UK and Ireland, now is the time to meet Begonia.
Beethoven and his impact has never gone away. How do artists today still react and honour him? What came next with the London Philharmonic Orchestra was a UK premiere from Tan Dun: Choral Concerto: Nine.
Originally meant to be heard in 2020, we are finally hearing Dun’s inspiration of Beethoven’s 9th Symphony. This melding of ancient Chinese poetry and the German composer comes a work, which on first glance felt uneven, weightless and a little clichéd. We hear quotes from said symphony, the wise words of Lao Zi, Li Bai amongst others, who unite nature with our humanity. All this should perfectly pair with the words of Schiller in the Beethoven. Written for the same forces as the 9th, this technically in not true as there is from Dun’s demands) a fascinating array of percussion: massive drums, stones, tubular bells and more.
Each movement is dubbed ‘Jiu’ in the Chinese, yet each has it’s own translation in order of: ‘Nine’, ‘Wine’ and ‘Time’. The united forces of the London Philharmonic Choir and London Chinese Philharmonic Choir got to whisper, meow, lip smack and mediate on other transient actions. As the piece went on, it built momentum and had the ideal of a fun, focused work. The image alone, of Dun’s hands in a state of prayer, before conducting his own piece may have been the most profound moment.
It is no bold claim that Beethoven’s 9th Symphony, also dubbed the ‘Choral’, is considered the greatest off all symphonies. The punch in the face of its impact never wains, Dun was back to conduct and still spry in his mature years. Elegantly performed, the LPO not afraid to get down and dirty in moments of raw, heavy metal emotion. The four soloists of Elizabeth Watts, Hongni Wu, John Findon and Matthew Rose (replacing Dingle Yandell) sat below the organ console with the chorus. They felt quite far back, more than I would have liked, such is the awkwardness of having soloists pop into an hour long piece in its last third. All sung graciously, Rose as understudy, opened with a towering directness. The Ode to Joy was soaring and touching, even if I most likely heard it better before. Thorough its thoughtful pleasantries, cascading melodies, brooding tones and jubilant send off, I’m proud to say this is one of my all time favourites.
From the very first line of dialogue in Theatr Clwyd’s Under Milk Wood, with its small houses set centre stage as if we, the audience, are giants looking in, it becomes clear that this adaptation of Dylan Thomas’ iconic play is a unique and vibrant celebration of the Welsh poet’s work- the richness of his words, filled with alliteration and rhythm, a testament to the author’s unparalleled mastery of language.
This is a play which resonates both locally and universally, drawing on themes of community, memory, and the intricacies of daily life. Directed with a clear sense of playfulness and passion, the performance takes the audience into the heart of the small town of Llareggub (read it backwards!), where ordinary lives are elevated to the extraordinary through the magic of language and movement, in varied forms.
In many ways, it’s a shame that Theatr Clwyd’s production of Under Milk Wood comes so soon after Welsh National Theatre’s Our Town– both plays pulling back the curtain on seemingly simple towns, offering an almost voyeuristic glimpse into its inhabitants’ lives. (With similar themes- love, life, death…) it’s difficult not to compare the two. That aside, what makes this production so very special is its utter inclusiveness- this performance is an experience- the likes which I have never experienced in the theatre before and for this alone it should be celebrated. The text, presented in both BSL (British Sign Language) and written format, ensures that the performance is accessible to a wider audience. However, as in regular ‘signed’ performances- we aren’t just witness to one interpreter stood aside. Every word is signed by the actors on stage, so it simply becomes part of the story, without us having to turn our heads and miss the action.
Creativity oozes from this production- not only in its direction from Kate Wasserberg but also in characterisation through the video captions-the use of projected text adds another layer of artistry. The fonts are meticulously chosen, with particular attention paid to the shifting of colours and effects. For example, during one section, the text takes on a crumbling effect as Rosie Probert goes ‘into the darkness’, and during a scene in which a mirror is portrayed, the projected text is also mirrored. Fantastic attention to detail which doesn’t go amiss.
Astute detail is also present in the production’s costume- conveying character and tone. The seaside elements in the wardrobe choices- the hats, bags, jackets- are both character-specific and thematically rich. From the vicar to the baker, the draper to the postman, the wardrobe subtly anchors each character in their respective roles while adding a touch of whimsy and coastal charm! The costumes also play a vital role in the play’s multiple characterisations. The cast tackle these with vigour, embodying a range of town inhabitants from the familiar (the Vicar, the Postman) to the more peculiar (the Drunkard, the Sailor). Each portrayal is a nuanced, often humorous, interpretation that offers glimpses of the town’s vibrant collective personality. It would be impossible to single out individual performers. It’s easy to see why Thomas’ play has remained a classic; its inhabitants feel both familiar and surreal and we can probably all see reflections of ourselves in each one!
The cast’s use of movement and expression enhances the comedic moments beautifully and humour is rife throughout the piece- in the subtle gestures and exaggerated physicalities, which make each character feel larger-than-life. In terms of movement, the production is completely captivating! The transition from clock to cow (and everything in between!) is seamless. The clock making frequent returns, time, of course, being a key theme throughout. Hayley Grindles set design captures this perfectly- the clock, a prominent fixture at the end of Act 1 and beginning of Act 2, is a potent symbol of this thematic progression- time, always ticking, never stopping.
Theatr Clwyd’s production of Under Milk Wood is a sensory feast- an immersive, funny, poignant, and thoroughly human exploration of life in a small Welsh town.
Under Milk Wood completes its run at Theatr Clwyd on Saturday April 4th then goes on to the Torch Theatre, Milford Haven, the Sherman Theatre, Cardiff and finishes at Pontio, Bangor on May 23rd.
Cast:
Adam Bassett- Jack Black, Cherry Owen, Dai Bread, Foxy
Sean Carlsen- Reverend Eli Jenkins, Butcher Beynon, Mr Ogmore, PC Atilla Rees
Jacob Coleman- Organ Morgan, Ocky Milkman, Willy Nilly, Nogood Boyo, Sinbad Sailors
As it says on their website, TRIONGL is a company made up of three founding members, Valmai Jones, Rebecca Knowles and Rebecca Smith-Williams. The members work collaboratively to devise new pieces of theatre that engage with socially relevant themes with joyful scrutiny. The company is Cardiff based and works in both the Welsh and English language as appropriate.
‘Is There Anybody Out There?’ is a devised piece that runs for about an hour and a half. It is performed without an interval. The actors mainly speak in English, frequently addressing the audience directly, but there are a lot of exchanges in Welsh. These exchanges are translated simultaneously into English and are shown on a screen.
The subject of ITAOT is life after death or, more precisely, the spiritualist activity of getting in touch with those who have died by asking them to speak. The subject is treated with respectful irony, as much as ‘joyful scrutiny’, so the tone of the performance is comic. No attempt is made to scare the audience with things that go bump in the night.
The subject matter looks back to a time when it was common enough for audiences to go out to watch mediums ostensibly make contact with the dead. Unfortunately, Angela, our hostess for the evening, is a stand-in who does not believe and who only got involved in the spiritualism business because she was a member of a youth theatre and enjoys acting. To her astonishment, when she tries her hand, she finds herself possessed by the spirit of Debi Kicks, an energetic personal trainer whose class she had attended. She falls to the ground calling out ‘squats!’
It turns out Angela is being haunted by Debi, a restless spirit, unhappy to have passed away suddenly. She fancies a gin and tonic and wants some perfume to counter the smell of putrefaction. The two women are connected by coincidence because after Angela had been persuaded to attend Debi’s exercise class by her policewoman niece, Shona, she too had collapsed afterwards. The only other speaking member of the cast is a bilingual budgie, although there is an extra who assists with non-speaking roles and set changes.
Angela does not enjoy being haunted but starts to think. Maybe dead Debi will be able to put her in touch with Gwen. That way she could carry the stand-in show, talking to Gwen, establishing a real link with the spirit world, instead of having to improvise on the night and risk being exposed as a fraud. Debi, though, has not made contact with anyone apart from a suspicious looking man in a cap who seems to be taking an over-active interest in her. At the same time, Angela is paranoid she may have poisoned Debi by sharing her home made lunch with her. She presses Shona for details of Debi’s death, but Shona is caught up in her wedding plans.
The story is told, or unravelled, by the three women in an ingenious style. They frequently break through the fourth wall to explain what has happened, talking to the audience then switching back to participate in the story. To isolate themselves and re-enter the world of the play, they open and close a curtain. Much of the action behind the curtain takes place in what was Gwen’s caravan, where Angela is now living, but there are other imaginary locations, like the hospital where Angela and Debi are taken after they have collapsed. The set design is basic and realistic.
Interestingly, this is not a farce. The action is always presented at a very steady tempo and the jokes occur, rather than sounding forced. Nothing is emphasised. The acting is so naturalistic it’s invisible: it’s easy to think the cast are appearing as their real selves. The three performers sell themselves to the audience as sympathetic individuals participating in a true story. This approach provides the piece with its originality. It does have the feel of something that has been intensively workshopped, but the theme provides food for thought and the ideas that have been added in are sound. The budgie, of course, is very funny.
Because it moves at its own even pace and avoids relapsing into farce, I don’t think the piece would work in a large venue, but it was well suited to the small auditorium at Twm o’r Nant. It would not appeal greatly to an audience of young people but an older demographic, like those attending in Denbigh, will appreciate its understated approach: spiritualism without melodrama. Possibly the inclusion of more music and a song or two might have strengthened it. The most dynamic moment occurs at the very beginning, with the projection of Debi’s face on the drawn curtain as she exhorts her class to work out. Valmai Jones as Debi demonstrates dance-like skills in her movements. I feel sure other members of the cast have abilities or specific talents that could also have been showcased. A certain amount of showing off is allowed in the theatre and it usually contributes to the occasion.
To end on a positive note – I’d say the company deserves credit for touring their work to venues in towns like Denbigh where communities may be starved of access to contemporary theatre. Venues like Twm o’r Nant, which has an historic connection with an almost forgotten Welsh playwright, need to be kept open and busy. Triongl is touring accessible work which is representative of modern collaborative methods. This can only be a good thing.
The Panel for the Get the Chance, Cultural Impact Awards 2026, supported by Tanio, Tempo Time Credits, Ffilm Cymru Wales, Torch Theatre, Theatr Clwyd and Porters Cardiff, is happy to share this year’s Shortlist, the quality of nominations was very high and the panel had a very difficult decision, congratulations to everyone listed!
The Shortlisted nominees will be invited to attend the live awards event at Porters, Cardiff on Saturday 28 March, 5-7pm.
Thanks to all of the members of the public that took time to nominate, it was great to see a range of cultural activity that reaches a broad range of the public and its positive impact on their quality of life.
Thanks to our panel for volunteering their time to support this year’s Awards.
Category
Public Event
(Sponsored by Creu Cymru)
Description: Awarded to a public production, exhibition or cultural event that demonstrates high artistic ambition and quality which connects with the public. The activity should take place in and be produced by Welsh and Wales based creatives
Taking Flight Theatre Company, Martha
Romjul: A Norwegian Christmas in Wales, Theatr na nÓg & Norwegian Church Arts Centre
Black Welsh Music Awards, OTID Entertainment Ltd / Afrowales
Creative of the Year
(Sponsored by Porters Cardiff)
Description: Awarded to a Creative who demonstrates the highest artistic quality in work which is created and/or publicly exhibited, performed or displayed in Wales.
Elise Davison, Taking Flight Theatre Company
Richard Mylan/Michelle McTernan/Steve Balsamo/ Christian Patterson, Grand Ambition
Rhiannon White, Common/Wealth
Community and Education Project
(Sponsored by National Dance Company Wales)
Description: Awarded to a community, participatory or education project e.g. choir, dance, theatre, visual arts or heritage group which provides regular, inclusive access to culture for local people.
Theatr na n Óg – Beacon/Goleufa Education Project
Taking Flight Youth Theatre for Deaf and Hoh young people, Taking Flight Theatre Company
The After -Hours Arts Academy Movie project, Led by freelance artists Callum Bruce-Phillips, Cerian Wilshire-Davies with Peri Wagstaff, Dan Lawrence and Clare Johnson. Co-ordinated by Cassidy Smith.
Facilitator of the Year
(Sponsored by Theatr na nÓg)
Description: Awarded to a cultural facilitator, teacher or practitioner who leads inclusive community, participatory or education projects in Wales
Stephanie Bailey Scott, Taking Flight Youth Theatre for Deaf and Hard of Hearing Young People
Carly Lewis, Tanio, Nature’s Printmaker
Hefin Robinson, Playwright, Mess Up the Mess
Culture and Health
(Sponsored by Christine O’Donnell)
Description: Awarded to a cultural project, event or series of workshops which support people living in Wales to improve their health and wellbeing.
Lisa Davies, Tom Stupple, Jack Skivens, Emily Seidel-Haas, Carly Lewis, Tanio, Cwmpas, Connecting Carers
Good Vibrations Chorus, RWCMD/Parkinsons UK, Roger Hampton
The Posh Club Boutique team and guests, Common/Wealth in collaboration with Duckie
Cultural Champion
(Sponsored by Tempo Time Credits)
Description: Awarded to an individual from the creative community, e.g. a volunteer, administrator, technician, curator or board member whose work makes a significant positive contribution to the cultural life of the Nation
Kelly Barr, Age Cymru, Tanio
Osamagbe (Osama) Izevbigie, OTID Entertainment Ltd / Afrowales, Black Welsh Music Awards and Cymru Unleashed
Commitment to Education in Arts, Heritage & Culture
(Sponsored by Theatr Iolo)
Description: Awarded to a teacher, lecturer, educator who demonstrates significant commitment to and celebration of the arts in the broadest sense
Gnoll Country Park’s Chris Pugh and Gary Turler from Wild boar Carvings, Gnoll Country Park, The Tree of Many Faces Sculptures and Storytelling Throne at Gnoll Country Park
Cwmtawe Community School Maths Teacher Daniel Lear.
Janet Hayward, Headteacher, Cadoxton Primary School
Disabled Creativity
(Sponsored by Common/Wealth)
Description: An award recognising the achievements of an organisation or individual creating awareness of Disabled led work.
Ceri Ashe and Angharad Tudor, SPAN Arts and Popty Ping Productions, Enjoy Every Minute
Taking Flight Theatre Company
Gareth, Ruth, and Ben, Stiwdio 37, The Lamp Room, The Dice Pit
Barnum literally bursts onto the Donald Gordon Stage at the Wales Millennium Centre. After an almost ten-year absence for the musical, and in a world that now contains The Greatest Showman (incidentally the brand-new musical version opened this week at the Bristol Hippodrome), does the show still stand up against its newer, poppier counterparts?
I had never heard any of the songs from the show, but thought the score was delightful, a perfect blend of musical theatre and circus music, with plenty of opportunities for showstopping circus tricks and dance numbers. The opening of act two, Come Follow the Band complete with aerial tricks, clowns, full marching band and mesmerising dancing was a particular upbeat highlight, but the show also contains some beautiful contrasting ballads, such as Love Makes Such Fools of Us All and the beautifully tragic The Colours of My Life (Reprise).
The set is beautiful, blending just the right amount of the circus ring with the world that PT Barnum inhabited. The big top central section is perfectly suited for the tumbling antics of the circus ensemble. The proscenium arch complete with its resplendent theatre boxes truly sets us in Barnum’s world and allows for some lovely level work, with performers popping up all over the place. The circus is cleverly integrated into the set with well positioned ladders built into the set, tightropes appearing from the wings, and aerial equipment appearing and disappearing in the wink of an eye.
The cast and ensemble are not so much triple threat as quadruple or quintuple threats. The dancers are not just dancers but acrobats, tumblers, aerial artists and more. The actor musicians are also incredibly muli talented. Most of them play multiple instruments and sing like a dream. I was beyond impressed at the way each performer swapped between piano, brass, strings and more. The dancing and circus act blend effortlessly together to create dreamlike sequences, the ‘humbuggery’ of Barnum’s creations. Every actor is a player in the circus; even Lee Mead himself braves the tightrope in a breathtaking moment in which you could have heard a pin drop.
I am unable to mention individually the talent, as this review would go on for pages, but I must mention the stunning vocals of Penny Ashmore as the Swedish Nightingale, Jenny Lind, who returned later as an en pointe ensemble member. Monique Young as Charity Barnum was also excellent, gorgeous vocals, a tour de force against her humbug husband Barnum, and a wonderful dancer too, holding her own in sequences with the circus dancers.
Lee Mead gives a fantastically charismatic performance as the titular character. His performance is endearing, energetic, joyous and full of charm. His vocals soar; even after the high octane dance numbers he never falters. His relationship with Young’s Charity Barnum is truly believable and their scenes together are heartfelt and funny. It’s a tough pair of shoes to fill as everyone now knows Hugh Jackman as the greatest showman himself, but Lee is more than up to the challenge, creating a version of Barnum that is all his own.
So, step right up to the greatest show in town. It may not have the popularity of the newer film (and now musical) version, but if the standing ovation is anything to go by, it’s more than capable of being respected and admired alongside its younger ‘cousin.’ Follow the band, smear on the greasepaint, grab the popcorn and enjoy the sheer spectacle of Barnum The Circus Musical.
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
(5 / 5)
(3 / 5)
(4 / 5)
