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Opera & classical

Review, Angela Hewit, Bach’s Goldberg Variations, Wigmore Hall by James Ellis

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out of 5 stars (5 / 5)

I was keen to attend a recital with Canadian legends Gerald Finley and Angela Hewitt for an excitable programme. Finley sadly, could not make it due to a bereavement. So this raised a question…what would be done instead?

Hewitt was up to the task by taking on the Golderg Variations as a very palatable alternate concert. Prior to playing, she spoke of the promise of doing something another time with Finley. We were amazed as we were informed she has been playing the Goldberg for 50 years, come 2025. She remains the gold standard of the piece, no doubt there are a select other few living, who could earn this title today.

Some might be deterred by and hour and half of piano, yet with Hewitt its remains a privilege and a pleasure. She brings so much to Variations, the opening Aria remains one of the finest things written in the keyboard repertoire (this was originally a harpsichord vehicle). It’s the personal touches throughout the epic journey that thrive. This is my second time seeing her do this, last time I recall she brought on stage a sparkly crutch. I can’t get enough really.

The travels are broad and Bach show’s us his genius with clever transposition of the Aria, new colours, mood, visions and energies burst out. Timeless music this has always been…further study into Bach and his creations can only broaden his intrigue and admiration. Hewitt brings her own inflections and posturings, moments of stillness are latter met with flare and style. In one instance, there appeared an almost emotional breakdown, though we wouldn’t blame her. The music has a complexity that still beguiles today. The faster movements are filled with plodding panache, the slower parts have a sincere retrospection.

After the panorama of depth, we return finally to the Aria once more. This has always been one of the most rewarding moments in the keyboard world. Those who may tire throughout, should find solace here. Hewitt knows the worth of this moment and we savour it at the conclusion.  This remained a heart felt silence which felt forever in the space.

I do hope to see her play in her special anniversary next year. It would be an honour. 

Food and Drink, Uncategorized

Review, Coppa Club, The Cardiff Townhouse by James Ellis

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out of 5 stars (4 / 5)

Cardiff is seeing many fine eateries and places to be seen over the past few years. What recently caught my eye was the Coppa Club in their first flutter into Wales. It was all very exciting, a part of the timeless David Morgan building would be brought back to life.

I know the space well, my brother worked at the Moss Bros which was the past proprietor. Arriving to the club you could detect the faint whiff of new furnishings and new renovation smell (this was their tenth day of trading), though I’m sure that will go with time. I had little time to take in the space downstairs, which appears to just be for drinks and nibbles, the soft, autumnal colour scheme and cosy seats looked promising.

It’s wonderful to see the old glass dome upstairs still be in the space, this is where the Gatsby like bar now resides. I was served a delectably smooth espresso martini, I rarely fall into vodka though I’m thrilled I did here. A perfect way to be welcomed in, I cant recall which vodka was offered though I did clock Grey Goose and amongst others. A grip with the bar is that the mountains like stools are extremely heavy and only swivel a certain amount if degrees. The layout of the bar is a clever use below the dome, though the golden, mushroom lamps block a large amount of space in the bar’s surface. I should also point out this is not a club per se, no membership required.

A highly amusing moment came when a customer asked me where the toilets were, I had chosen to dress up this night. A barman passed remark how smart I had come, which as always nice. I do remain a bit disheartened when people don’t dress up at a restaurant. The music was a little to dance heavy for dinner, though volume levels were graceful. Sat in the corner with a view of The Hayes, a slight sight of scaffolding couldn’t be helped as it was next door. Quite simply lit, the dining area we frequented felt right in mood, the seats comfy and the table standard for two. The folded paper art work had me intrigued, stylish if uninspired, the patterned prints were fairly more alluring.

The squid to start was a fine thing. Cooked well, tender and with a fitting sauce, the food was off to a great start. As my main, this might be the best steak I’ve ever had. Dry aged for 30 days, I couldn’t believe my luck. Cooked to perfection as medium rare, some fries were crunchy and a side salad was heavy on dressing, though a fine garnish. The Béarnaise sauce is not quite my flavour, but that’s on me. I should have done a classic peppercorn sauce. I’ll regret that thoroughly. My plus one had the yellow fin tuna, trying some it was pink on the middle as it should be, tender and juicy, some potatoes and olives added depth to the plate.

All desserts were veggie, but no chance for a vegan this time from what I could see. I was recommended the sticky toffee pudding, which I wouldn’t usually pick. It was the honeycomb crumbs which finished this pudding, the rest was finely balanced. Wine choices of red and rosé added colour to the meat and fish choices, I was thrilled to have a cappuccino with skimmed milk, something which not every place has.

The staff need a massive shoutout, as some of the friendliest and alert I’ve encountered in the dining world. Some personal stories thanks to my plus one opening up, lead to insights and advice. We even got some holidays tips and recommendations. We were looked after so much and the staff are really selling the place. It’s one of their strongest assets.

One question remained after I had left: where exactly was the kitchen in the club? I saw neither chefs nor kitchen setting. There was little chance of it being upstairs and I recall the ground not as not being huge either. Having said this, this was a wonderful night, filled with joy and generosity. The Coppa Club is becoming one of the places to go in Cardiff. We are going back for a birthday soon, I’d imagine.

The Coppa Club, The Cardiff Townhouse, is now open for reservations and drop ins.

Opera & classical

Review,A Little Night Music, BBC National Orchestra of Wales, Hoddinott Hall by James Ellis

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I would finally return to see our National Orchestra, with their homestay concerts now at their base down Cardiff Bay. St David’s Hall wont open its doors for another year at least and it’s great to see the players where they live once again.

The concert title of A Little Night Music would suggest at the very least a billing of Mozart, yet he was no where to be seen. This was a more adventurous fit with a world premiere from Irish composer Stephen McNeff with The Celestial Stranger. With poems by Walt Whitman, Dylan ThomaS and Hawian queen Lili’uokalani, with a focus on the discovery of verse by Thomas Traherne, a clergyman and mystic this was the foundation. The theme is a traveller from beyond the stars and tries to navigate our own world. Here, with the evocative tenor Gavan Ring, the songs were strange, developing more character as each went on. With nods to Britten, this setting held up as evocative and weirdly sensual. Always a pleasure to hear newly commissioned work.

Fauré was the first composer to set music to the play Pelléas et Mélisande. This alluring story sees tragedy and allusion in equal measure. Fauré recycled other pieces for the rushed play opening in London, this being the incidental music. In these sequences there is the light air he is known for, sweet and touching, very French. Debussy handled the story best with his opera, the watery scope a landmark of its era. Several composers wrote music inspired by the story, yet I’m sure Fauré is the least interesting of the lot.

It has been 150 years since the birth of Arnold Schoenberg which might see many concert goers terrified at the prospect of listening to him live. In what is a safe bet, his Verklärte Nacht or Transfigured Night is a wonderful gateway. No one would be offended by this early composition, it is later in his life he created the infamous serialism technique. Originally for sextet, this lush, larger string ensemble bring to life the verse of Richard Dehmel, seeing a couple in the forest face their troubles and realisation of commitment to one another. This is quite splendid really. The harmonies are just right, some ornaments and tricks also feature. The players here oozed a loving determination. The piece shone, vigorous conductor Jac van Steen blowing a chef’s kiss as ever at the finish, this time heart felt. Those doubting the Austrian composer’s style should consider Verklärte Nacht as a starting point. You might just be surprised.

This concert will be broadcast on BBC Radio 3 and then available on BBC Sounds in July 2024. It will also be filmed for future release in the BBC National Orchestra of Wales Digital Concert Series.

Musical

Review, The Drifters Girl, Wales Millennium Centre, 8th May 2024 by Bethan England

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out of 5 stars (4.5 / 5)

It’s always a challenge to bring something new and different in a Jukebox musical, where some, if not all, of the audience are going to know (and want to sing along to!) the songs. What is refreshing about The Drifters Girl is that it comes at the story of The Drifters from a completely different angle; that of Faye Treadwell, the woman behind the infamous band. Faye and her husband, George were the duo who brought us the musical sensation and it is really a breath of fresh air to focus on the duo and, specifically, the woman behind the music.

The stage is well designed, with moving flats creating recording studios, stages, bars and the office of Atlantic Music. I especially loved that the projections behind the performers crackled with static and black lines, the image distorting slightly and reminiscent of 50s and 60s television. The set moves seamlessly behind the actors meaning that new scenes and areas are created with no distraction to the action. Projection is particularly well used in the very funny section where we see the tumultuous time in the Drifters history where the members of the band were repeatedly changing; their names projected behind them as we manically try and keep up with these rapid shifts. Light and sound is also clever; I thought this was particularly poignantly used in the police interview sections, where bright white lamps flashed, and rapid blackouts took us straight to an Arkansas police station where the band were wrongly accused of a crime, simply due to the colour of their skin. Lighting was used to great effect with beautiful tableaus capturing the emotional moments; the band cast in blue light, spotlights, in darkness, whatever the moment called for.

The music is obviously a highlight of the show with toe-tapping numbers, including Saturday Night at the Movies, Come on Over to my Place, Save the Last Dance for Me and many more. The performers raise the roof with fantastic vocals and slick dance routines capturing the essence of the original performances. The Drifters switch with ease, becoming Ben E King, Rudy Lewis, Clyde McPhatter, Johnny Moore and the various other members of the band. It doesn’t matter which one takes the lead singer role; Ashford Campbell capturing starstruck Ben and tragic Rudy, Tarik Frimpong electrifying with his dance routines as Clyde and Daniel Haswell belting the high notes with ease as Johnny. Taking on the key role of George Treadwell is Miles Anthony Daley, breaking our hearts with There Goes my Baby, his voice soaring. The physicality and fast-pace costume changes is incredible to watch. Once minute they’re in the band, the next they’re feather clad showgirls! But throughout it all, you are never in any doubt as to which character you are watching.

The boys are complemented well with ‘The Girl’ played ably by Jaydah Bell-Ricketts, encouraging the tale to unfold; she is a constant presence on stage as she comes to understand the story of her mother’s part in the band’s history. Last and by no means least, is The Drifter’s Girl herself, Faye Treadwell played by Olivier Award Winner, Carly Mercedes Dyer. Her voice is wonderful, especially during Harlem Child and I Don’t Want To Go On Without You. You could hear a pin drop in the theatre as her vocals soared. She perfectly captures the battle that Faye Treadwell faced not only as a woman, but as a black woman in the music industry. Her command of the stage during her musical numbers is a joy to watch.

The show is full of humour and heart, but also touches on the racism faced by the band and Faye but also the sexism of the industry towards Faye. The words ‘No Irish, No Dogs, No Blacks’ remind us all too well of our own very recent history of racism and the issues we still face to this day. Faye being asked ‘how long she has worked FOR the band’ and then asked, ‘which one are you sleeping with?’ reminds us that women still face this kind of question, even today.

It’s ultimate message as the audience got to its feet at the encore is that we must keep going and ‘do what is necessary’ to overcome whatever might be thrown at us. Faye’s determination that the Drifters would go on after losing her husband, in the face of outright prejudice and bigotry is still such an important message to be taken home with us after we leave our seats. So, this is more than your average jukebox musical, which is what makes it stand out amongst the likes of Mamma Mia and We Will Rock You. Yes, the music is wonderful, but the message is just as important as the songs that will draw those audiences in.

Theatre

Review Oh What a Lovely War, Theatr Clwyd by Donna Williams

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out of 5 stars (5 / 5)

Marking the 60th anniversary of Joan Littlewood’s epic anti-war musical, the award-nominated Blackeyed Theatre production of Oh What a Lovely War brings this outrageously satirical production to Theatr Clwyd in Mold this April, and what a triumph it is, earning a much-deserved standing ovation on opening night.

Oh What a Lovely War was developed by Joan Littlewood and her ensemble at the Theatre Workshop way back in 1963 and is a satire based on World War I. You might be fooled in to thinking then, that this piece is surely outdated with its traditional war songs and sarcastic of-the-period humour, but how wrong you’d be! This musical has spanned the decades and is sadly more relevant now than we would wish to admit: the idea of war as a ‘game,’ the harrowing casualty counts displayed for all to see, the pompousness of the ‘higher ups’, hosting parties behind closed doors whilst young men fall at the front. This production exposes war as an oxymoron in itself- a laughable tragedy. We know how the Great War went, but we are still shocked and somewhat guilt-ridden when we go from a Sister Susie’s Sewing Shirts singalong with the cast, snap into the latest number of dead and wounded displayed on screen and the disgusting dismissal of these by those in charge as simply that, numbers.

The cast take us on a journey of emotions from the get-go. As we enter the auditorium, members of the cast are already in full swing- talking to the audience, passing round balloons, allowing us to play their tambourines and so on. Total theatre at its very best- we are already immersed in the action. Victoria Spearing and Naomi Gibbs’ design falls somewhere amid the original production’s use of Pierrot costumes and Richard Attenborough’s 1969 film version’s more literal use of military uniform, with a simple yet effective set which, at first, transports us to a circus tent complete with strong man and ringmaster, then on to a music hall venue with pianists and cabaret singers before heading to the trenches, the towns and cities of Britain and beyond.

The cast are flawless and not only take on several roles with a multitude of accents and characteristics (often only visualised with a small accessory such as a hat or a coat) but are also the ‘band,’ playing a variety of musical instruments throughout. They also provide the vocals for all songs as well as all sound effects. There are moments when it is hard to believe we are not hearing real gunfire- no recorded SFX needed. It would be unfair to single any cast member out as they all quickly proved to be triple-threat performers and told the story with incredible energy, excitement, and sentiment.

The direction, by Nicky Allpress, is superb with so many visually stunning elements. The contrast of these beautiful moments against the backdrop of the brutality of war is extremely powerful. Highlights include passionate versions of well-known melodies including Keep the Home Fires Burning, Roses of Picardy and And When They Ask Us, the infamousChristmas Truce in the trenches beginning with the British Expeditionary Forces hearing German troops singing carols and a cleverly staged generals’ Ball, during which the male cast dance with sequined gowns and take on the roles of the generals as well as their wives!

This production is pure entertainment from start to finish- aesthetically exquisite, perfectly cast and the ideal combination of hilarious and horrifying.

Oh What a Lovely War completes its run at Theatr Clwyd on April 27th, 2024. The tour will conclude at Cornerstone, Didcot on May 17th, 2024.

Recommended for age 11+

Running time: Approx 140 minutes (including interval)

Oh What a Lovely War | Theatr Clwyd

Cast:

Tom Benjamin

Tom Crabtree

Harry Curley

Alice E Mayer

Chioma Uma

Euan Wilson

Creatives:

Director- Nicky Allpress

Musical Director- Ellie Verkerk

Movement Director- Adam Haigh

Orchestrator- Tom Neill

Set Designer- Victoria Spearing

Costume Designer- Naomi Gibbs

Lighting Designer- Alan Valentine

Projection Designer- Clive Elkington

Company Manager- Euan Wilson

Technical Stage Manager- Symon Culpan

Assistant Stage Manager/Swing- Elli Damarell

Set Construction- Russell Pearn

Properties- Chantal Addley

Producer- Adrian McDougall

Press- Chloe Nelkin Consulting

Musical, Theatre

Review, Operation Julie, Theatr na nÓg, The Riverfront, Newport

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out of 5 stars (4.5 / 5)

I’m not sure what to expect as I take my seat at The Riverfront in Newport. A tree trunk branching over a stage set with psychedelic colours and ready for a rock gig is the perfect set for this show. The true story of the greatest drugs bust in history bursts onto the stage with its actor-musician performers alive with energy and blowing the roof off the theatre, even in the opening number.

The loveable cast of characters are introduced through their instrumental solos; an eclectic mix of guitars, percussion, cow bell, oboe and more. They switch between instruments, being ‘in the band’ and in the show and even between characters with poise and speed, costumes change in the blink of an eye, accents alter and even the stage crew are in costume, moving the set on and off stage. This means we are instantly transported back to the events of 1975 and 1977 in rural West Wales, the music mixing perfectly with the sometimes barmy, but always heartfelt plot.

The action opens with Londoner, Richard Kemp in his lab, mixing his latest batch of acid, the one that will cause a catalyst that he hopes will change the world. The couple of Richard and Christine are excellently played by Joseph Tweedale and Georgina White and their singing voices are amazing; ethereal in places, singing the prog rock score with ease. From there, we are catapulted into the lives of Smiles and Buzz with a hilarious section of Buzz driving Smiles to pick up his acid from various locations. Gerry accompanies them in a surreal yet side splitting section, where we feel ourselves swerving with the ‘car’ as Buzz spins the wheel. More excellent voices and fantastic comedic chops come from Daniel Carter-Hope, Sion Russell Jones and Dan Bottomley.

We visit the various other locations of the story including the police station where the ‘chameleon’ of the piece Phylip Harries delights us as PC Evans (he also plays Wil Bach and Wright throughout the rest of the tale). The scenes alongside Kieran Bailey as Richie Parry are so well executed, the lines pacey and thick with local references that the audience love. Richie is the perfect opposite to Steve Simmond’s cockney copper, Dick Lee. They’re like the original odd couple, colliding worlds, and personalities in their efforts to execute the largest drugs bust in history. A highlight for me, (without spoiling the surprise), is Steve’s musical number at the end of act one; he definitely got the audience rocking! Finally, Caitlin Lavagna gives a multi-role masterclass as she switches roles (and costumes!) with ease between landlady, Sgt Julie, Meg and Anne Parry.

These talented performers navigate the material with ease, expertly directed by Geinor Styles, who also wrote the show after interviewing a range of people who lived through the events, including Smiles himself and Anne Parry, Richie’s long suffering wife. This lends an authenticity to the piece; the characters live and breathe on the stage, brought to life through excellent writing. The musical direction also brings out the best in this talented cast, the music of the time brought to life by Greg Palmer.

The show is very funny, but at the heart of it all is a story which pulls us right back to the modern-day issues we are facing now. Kemp’s moving speech at the end, intended for his court case, but never delivered, is poignant; emphasised by the images projected behind him as he speaks. This movement was not only about the drugs; it was so much more; it was the start of a revolution intended to make people sit up and listen to the very real world issues starting back in the 70s and that we are now facing in 2024.

I was sorry I missed this when it toured in 2022, so I am thrilled I got to catch it this time. This psychedelic, surreal, trip of a musical play makes us laugh, makes us feel joy but is counterbalanced with this powerful message that we are left with as the music fades. The real-life Smiles sums it up perfectly; hoping the play hits the right chords of the serious issues that the LSD was trying to tackle, but also hoping that the sheer joy of the time is captured. I think the audience members would definitely agree that Operation Julie hits these targets and a lot more. Catch it if you can on this limited 8-week tour!

Theatre

Review Kill Thy Neighbour, Theatr Clwyd By Donna Williams

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out of 5 stars (5 / 5)

Those who are lucky enough to get over to Theatr Clwyd in Mold over the next week or so to witness Kill Thy Neighbour will be surprised to learn that this is writer Lucie Lovatt’s first full-length play. It has been a long time since I saw a play that captured my full attention and imagination throughout, as this one did. Lovatt had been inspired by an article about Cwm-Yr-Eglwys and the fact that only two of the fifty properties there currently had permanent residents: the political backdrop of the second-home crisis being current and resonating with, not just Welsh communities, but communities across the globe.

The play opens with the audience looking in on a family home in a little Welsh coastal village abandoned by its former residents and now overrun with wealthy folk from the cities buying properties as holidays home or weekend getaways. The house in front of us could belong to any of us- there’s washing up in the sink, dozens of coats hanging on hooks near the door, most probably not worn anymore, a couch that’s seen better days, a table and four chairs donning a cork board and a door that creaks open with the slightest breeze. This is no Instagram home, but a home that has seen generations of the same family living under its roof, a home that is loved, a home that has seen more than we first realise. The phrase ‘if walls could talk’ certainly comes to the forefront as the action progresses. And there is so much action despite the play not moving from these four walls. The characters, the setting, the plot keep the audience completely hooked throughout- a real mix of hilarity and darkness and yet everything believable despite the explosive secrets that are unearthed.

We meet long-married couple Caryl (Victoria John) and Meirion (Dafydd Emyr) who appear to be at odds- Caryl has called in camp-as-a-row-of-tents estate agent, Gareth (Jamie Redford), to value the house even as Meirion insists he is never moving; this is where generations of his family grew up and he never intends to sell the house. Later we learn there may be more to his decision that first meets the eye, Lovatt consistently dropping hints and clues of the drama that is about to unfold. Nothing is predictable but we are left frequently wondering.

The outsider invasion is represented by Max (Gus Gordon), a Bristol-based marketing consultant who has just bought the property next door, which Meirion has agreed to keep an eye on while Max is still commuting back for work at the same time as attempting to salvage his relationship with his girlfriend who doesn’t seem all too keen on the move.

The drama continues to unravel as Caryl and Meirion’s thirty-something daughter, Seren (Catrin Stewart) arrives on the scene with a few secrets of her own. She escaped the village years ago, much to the disappointment of her mother. Arguments and revelations ensue and there is a constant undercurrent of something like the bubbling of a volcano ready to erupt at any moment. We hang on every word of each character, all of whom we can relate to in one way or another; the near retired wife who doesn’t feel wanted, the downtrodden father who has always worked hard but isn’t satisfied with his lot, the happy go-lucky guy next door who just wants to please everyone, the local estate agent who wants his next sale but who also has a heart and the daughter who moved away and wants a family of her own.

The cast are simply superb and play every word and emotion perfectly- it is impossible to single out one player. The comedic elements are skilfully balanced against the raw issues arising in this production and has certainly left me wanting to see more of what this writer has to offer in the future. From the set to the direction, the casting to the interweaving lives of these characters before us- this is a must-see piece of theatre!

Kill Thy Neighbour completes its run at Theatr Clwyd on April 20th.

Kill Thy Neighbour | Theatr Clwyd

Cast:

Gareth- Jamie Redford

Caryl- Victoria John

Max- Gus Gordon

Meirion- Dafydd Emyr

Seren- Catrin Stewart

Company:

Writer- Lucie Lovatt

Director- Chelsey Gillard

Set & Costume Design- Elin Steele

Lighting Designer- Lucia Sánchez Roldán

Composer & Sound Designer- Tic Ashfield

Assistant Director- Ellie Rose

Intimacy Director- Bethan Eleri

Casting Director- Polly Jerrold

Wellbeing Facilitator- Hester Evans

Company Manager- Alec Reece

Deputy Stage Manager- Tyla Thomas

Assistant Stage Manager- Emma Hardwick

Musical, Theatre

Review Come From Away, Wales Millennium Centre by Bethan England

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out of 5 stars (5 / 5)

Come From Away has been called one of the ‘best new musicals of the century,’ which is high praise indeed when you consider the sheer choice and variation of shows and, in particular, musicals, when you consider attending the theatre. This assessment, however, is truly well deserved, proven by the instantaneous standing ovation at the end of the opening night of Come From Away at the Millennium Centre.

The plot focuses on the true-life story of the town of Gander. Once the biggest airport in the world, Gander International was at the forefront of aviation, perfectly placed for planes to land to refuel during their transatlantic flights. Since those glory days, however, there’s talk of tearing down the airport as planes can now make their journeys on a single tank. However, the peaceful lives of the residents of Gander are shattered as 38 planes were diverted there due to the airspace being closed after the catastrophic terrorist attack in America on 9/11.

Starting with the staging; there is no safety curtain as we take our seats; the stage is set simply with chairs and tables. The band is on stage alongside the action. The back wall is simple, but projections create all the atmosphere we need; starting with clouds and transitioning as the show progresses to show us various locations and occurrences, such as small lights as the residents gaze up at the numerous planes landing. The simple set means that nothing detracts from the stories being told here. The chairs are moved around to create Tim Hortons where the Mayor sips a Pepsi and ‘gets the lay of the land,’ the rows in the planes or the seats in the school buses that escort the fearful temporary residents of Gander to their impromptu homes on the island. Lighting is incredible, with several moving tableaus perfectly highlighted by the creative placement and tones.

The music is uplifting, joyous and the hooks are infectious. The musicians being on stage and sometimes involved in the action is the perfect way to ensure that the music is well and truly integral to the piece. The pace is non-stop, the harmonies are perfectly placed, the voices are excellent and so heartfelt. Particular favourites of mine were ‘Welcome to the Rock’ which is a rousing opener, ‘Prayer’ which shows the diversity of the passengers on those flights so perfectly, ‘Me and the Sky’ which is Beverley Bass’ homage to her journey to becoming a pilot, and the hilarious ‘Screech In.’

The cast was wonderful and it’s hard to pick out one member as this is such an ensemble piece where every actor is equally as important. However, special mention must be made to Kirsty Malpass, the resident co-director and choreographer, who stepped in to play ‘Bonnie and Others.’ It really shows the importance of understudies, covers, and swings and epitomises that the ‘show must go on.’ Every cast member play multiple parts; the residents of Gander initially, then numerous, various passengers and the pilots and crew on those 38 flights. Each transition is seamless. You are never in doubt of which character is speaking; the change in accents is impressive, as is the Brechtian technique of adding a hat, jacket, or similar, to show that we are now seeing the story of a new character.

What Come From Away does so well is these stories. You feel for every single person delivering their tales. The real characters are presented with sensitivity and truth. The fictional ones too, show what those people went through being so far from home, maybe alone, scared, wondering about their loved ones and appalled at the visions unfolding before them on television screens. It does not shy from showing us the difficult things; the fear and suspicion of the Muslim Egyptian passenger, the difficulty with understanding one another’s language and culture, the overcoming of those issues and coming together because, when it comes down to it, we all ‘come from away’ and all deserve to feel loved, for our stories to be heard, for someone to hold our hands when we feel isolated.

So, is Come From Away truly one of the ‘best new musicals of the century’? It more than earns this accolade, in every note, every story portrayed, the way that we can still learn from it, even over 20 years after that terrorist attack. If anything, we need this musical more than ever, as it shows us that even as we stand ‘on the edge of a moment,’ perhaps in need or feeling alone, there is someone ready to make you feel like you belong, whether that is one person, or a whole community.

Theatre

Review Things I Know To Be True, A48 Theatre Company, Llanover Hall Arts Centre by Peter Gaskell

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Andrew Bovell is a world renowned Australian playwright with whose work A48 Theatre Company founder Ray Thomas became familiar when he toured a collaborative Welsh and Australian production of “Do Not Go Gentle”, starting at Chapter Arts Centre and finishing at The Drill Hall Theatre in New South Wales in 2017.

After the success of “When The Rain Stops Falling” at Chapter in 2022, A48 Theatre Company chose “Things I Know To Be True”, another of Andrew Bovell’s plays, for the current production which runs from March 25-30th at Llanover hall arts centre, Romilly Road, Cardiff .

The play is bookended by night-time scenes at the Price family home when the ringing living-room phone wakes up the household. There is speculation among the younger members of the family before father Bob lifts the receiver and answers ‘hello’. Before we know the significance of the call which comes at the close, action then proceeds to the front of the stage where the youngest, Rosie, gives the first monologue.

If you were thinking that the play’s title suggested a catalogue of didactic rants according to one or other characters, it wasn’t going to be this one. Rosie is telling us how she went travelling to discover love and life. Thinking she had got a result, we are shocked to hear the outcome of her encounter with Spanish heart-throb Immanuel in Berlin. When the scene cuts to her arrival at the family home to find solace, we are then diverted from the expectation she will receive a sympathetic hearing as her family appear and pepper us with quick-fire banter relating to past behaviours, some fond memories, others more resentful (e.g “I spend good cash on buying you a coffee-machine, Dad, but you never use it!”) that all but side-lines poor Rosie whose tale of loss and romantic disappointment is ignored.

The play explores the tensions created in the family relationships as each of Fran and Bob’s offspring reveal the singular deep and personal crises in their young adult lives. Bob is a prematurely retired car-worker while Fran still works as a hospital nurse, both have always been scrupulous about raising their children well and morally, to be able to leave the nest one day to create careers and family life of their own. The drama lies in how the revelations put a strain on the prospect of a happy dotage for the parents as their children reach adulthood. Such revelations force Fran to admit she has put small portions of her earnings aside in case she felt she had to leave Bob, to his consternation, while Bob has retired to grow his roses but finds it difficult to spent all his hours usefully satisfying as he had hoped.

The set is simple, tables and chairs behind the house-frame viewed from the garden area with a display of Bob’s beloved roses. Much is made of the tree beyond the fourth wall to illustrate character. Against it Fran beats her head out of frustration; Mark climbs it to observe the life around him, detached as he is from any sense of ease with norms of family and society. His brother Ben skits into view and out again to establish himself as a character evading the focus of others as he masquerades behind a facade of being as well-heeled as the privileged crowd he is trying to impress at work. Status and the value of wealth are hereby explored to a satisfying extent. Financial settlement at career end often results in a paltry amount considering the years of service someone like Fran has given.

When Ben confesses to mounting debt due to false accounting practices to fund his lifestyle, one parent is predictably outraged, the other unpredictably pragmatic. Ben’s brother Mark has decided he identifies as a woman and has booked gender-change surgery. Their sister Pip, a successful corporate career woman, is giving up the intimate care of her children in favour of leaving her husband for another man (also married). All these crises of the young adults throw the stability and hopeful expectations of their unprepared conventional parents into disarray.

The outcome is not surprising but still comes as a shock. Rosie’s second monologue is an inspired piece. Bovell writes it as if Rosie is imagining the thoughts in the overburdened mind of her mother as she leaves her hospital shift in the early morning hours for the last time, not for the first time her absorption in the case of a patient she has cared for being pertinent to her fate. The finale concludes with a wonderful silent episode where the children are dressing their father when all had been in nightwear moments earlier. Mark is now Mia and convincingly dressed and styled as such.

If the intensity of family dynamics is appropriately tense, the script is leavened with humour for some relief. The actors were admirably up to the challenges of some long speeches and fast repartee, if in monologue their voices dropped on occasion, making it hard to hear. A satisfying if unsettling drama, “Things I Know To Be True” is well produced in set and action, and recommended viewing if you can get tickets via a48theatrecompany.com

Musical

Review Bonnie and Clyde, Wales Millennium Centre by Charlotte Hall

1 Comment

out of 5 stars (4.5 / 5)

‘Bonnie and Clyde’ is based on the American outlaw duo called Bonnie Parker and Clyde Barrow. They were real life fugitives, in this production at The Wales Millennium Centre, Cardiff, Clyde had always been running from the law, and believed that the only way you could be free was to steal it. Bonnie seemed like a textbook perfect student, but when she met Clyde, they fell intensely in love, and she never left his side after that, she even helped him break out of jail. Once he got out, they were casually robbing places like banks together, and to show how romanticised they were by the public, in the musical, when they were robbing a bank, a hostage asked for their autograph. The crime began to escalate and when a store owner got killed, they had to go on the run. After about two years, they had killed at least 13 people, and the authorities finally managed to track them down, and they were shot and killed, at 23 and 24 years of age.

I didn’t know any of this information prior to watching the performance, I had only heard of their names as being somewhat related to crime. The story was very easy to follow, and you didn’t need to know any backstory to understand what was going on, which is always a plus.

During the production, there were lights dotted on the walls to the side of the stage, and whenever there were ‘gunshots’, the lights would flash at various points and there was an accompanying sound effect. The musical starts with these gunshots and Bonnie and Clyde’s car where they found their demise, and I think showing what happens at the end is effective in this instance, because the story isn’t about trying to figure out what will happen to them, it’s about the journey and Bonnie and Clyde’s deep connection.

Even though the music isn’t pop music or widely known, it immediately grips you. The score consists of gospel, blues, ragtime, and country, which is quite a mixture, but it blends very well, and suits the genre of the musical. Also, the singing was absolutely phenomenal.

As a whole, the diction was clear considering the accents, and every single actor did their job justice, as they all played their characters incredibly well. I didn’t particularly feel for Bonnie and Clyde’s characters, and I don’t think you are supposed to completely empathise with them, but I didn’t want them to be killed by the authorities in the end, I was rooting for them to turn their lives around. As Buck (Clyde’s brother) was telling Blanche, no one is too far gone for you try and help. He was living proof of it, because his relationship with Blanche was always bringing him back to reality and moral ground. Unfortunately, in the end, his love and feeling of responsibility for his brother got him shot not long before Bonnie and Clyde got killed, and I was crying as Blanche was crying over his body, convinced that he would survive if they could get back home in time.

Each of the actors put on a brilliant performance, their singing was top notch, and the story and music was written/ composed also brilliantly. I love how you can write a story about anything and feel a sense of connection/ empathy for anyone, no matter how morally corrupt they are in the end. The only reason it doesn’t get 5 stars, is because I want my soul to be ripped out, and it didn’t quite do that for me, but I still enjoyed all parts of it and would choose to see it again.