As I gaze upon The Lute Player by Frans Hals (1582-1666), I smirk at at the likeness between myself and the model, who remains a mystery to this day. A friend a few years back showed me the resemblance during our performance of a Shakespeare play. It seemed to me with the longer hair and the costume triggered this semblance of connection. It was fun to pose and try to capture the facial features of someone long dead. I do plan to go back and make myself look even more like the cheeky fella.
Photo credit: James Ellis
Getting that out of the way, this Frans Hals exhibit was simply wonderful. Often overshadowed by the eternal Rembrandt, a fellow Dutch master, time and time avian this show proves the brilliance of Hals. Lovers of more unconventional paintings of the period will stew over this highly emotive and relatable portraits. Staggering for a young man to simply strike a pose that only a bachelor could make of the time. The Portrait of Catharina Hooft and her Nurse is a swell example. Catharina the child, dressed in the most luxurious dress of the era and the nurse who still gets a loving depiction here. It’s one of many masterpieces you’ll see in this gallery.
The aforementioned Lute Player might just be his best, the facial expression and light are heaven sent. The similar Merry Lute Player, the figure gets a highly detailed face that I found myself drawn into. His larger commissions would wow and put light upon the black servants and wriggling children, whom Hals again gives much respect. It’s the elder looking Dutchman in their famous black hoods and massive hats that appear ludicrous in nature. Either looking defeated or fed up, I found it hard not to laugh in this sea of black fabric, white faces and a lone, shocking red-orange stocking of one gentleman.
The Portrait of Jasper Schade that is devilishly detailed and impeccably crafted, later work would show Hals commitment to more wild brush work, near impressionistic in style, through still of its time. Jasper’s proud stance and affirmed glance is the cock-sure male we never lost in society, though its hard not to marvel at his drip (clothes for the older readers out there). A tiny room with miniatures are another joy, children and smaller ideas haunt the space. A Young Man Holding a Skull is another famous flutter, though the blurb next to the painting says it is not likely to be a depiction of Hamlet, looking at the timeline, I dare say it might be.
A disappointment came when the gift shop was not selling postcards of Hals’ iconic work as singles, but in multi pack. What surprised me the most was the smallness of the exhibition. I did expect it to be a few rooms bigger, though this should not sway anyone to see this genius of the candid, polished portrait.
It runs at the National Gallery till 21st Jan 2024.
If ever there was a more perfect introduction to the work of Steven Sondheim, it is Old Friends. Carefully arranged by Cameron Mackintosh, the evening is a complete triumph, the spirit of Broadway and of the man himself lies in every note.
If I’m very much mistaken, most if not all of his shows are crammed into this spectacle. All his retrospection, the machine gun lyrical delivery, the tender phrasing and punchy musical gustro all frequent his heaven sent show. You really can’t belive your luck when sat there and seeing this career which spanned decades go by, we only lost Steven not long ago and even his last musical has just opened in New York.
I’ve less love for Into the Woods, though here Bernadette Peters made for a hilaroius Red Riding Hood, aside the sexed up Mr Wolfman from a marvellous Bradley Maden. Much billing has gone to Peters and I can see why. It is her innocnet and infecious voice that reels you in, a delight upon closer inspection. I did hear perhaps a voice crack or two, though these were during the big, ballsy nunmbers, though I have no complaints. I love her. Lets not forget her Send in the Clowns and Losing My Mind as well!
Lea Salonga, most famous as Kim in Miss Saigon, also gets meaty ballads and rowdy numbers all over the place. Her passion got the audience in a state of rapture. The familar face of Bonnie Langford also impressed with strident vocals and good comic timing. Janie Dee might just be my favourite persona on the night, her Ladies Who Lunch a total highlight, The Boy From… another thrill with a few refrences to Wales, which got me in a whooping mood, perhaps I was the only Welsh in on the night?
Clare Burt and Christine Allado were in fabulous company, more treats along the way. Gavin Lee getting heaps of solos and duets with quick wit and vocally well paced. Jason Pennycooke coming into his own with the frantic song Broadway Baby from Follies, another triumph leaving me quite dizzy. Joanna Riding and Damian Humbley were even more joys in the cast, their many musical moments spread out over the evening. A Funny Thing Happened on the Way to the Forum, his first musical as both composer and lyricist, got a piffy flutter though remains slightly overshadowed by what would follow.
Photo credit: Danny Kaan
Jeremy Secomb as Sweeny Todd faired well in the demands of the roll, perhaps the most operatic of Sondheim’s whole oeuvre. Time spent with Gypsy and Everything’s Coming Up Roses was affirmed and I am so glad they included it. Pickings from West Side Story and Dick Tracey also help up well, the later an Oscar winning turn. Merrily We Roll Along has found fame since its first flop, the title song of the show coming from his musical. Its remains the best moment in Merrily and used as an encore was perfection. Beyond catchy.
Sunday in the Park With George might be one of his best, used an a first act ender was finely poised. Company holds up, the Not Getting Married song was another outstanding corker Passion and The Mad Show I know less of and I note the lack of Assassins and Pacific Overtures too.
“Why walk when you could tölt?” Victoria Melody’s beautiful, brave and bonkers show will inspire you to discover your own outlandish passions and accept yourself
“Headset” is an intricate and original piece of documentary theatre, combined with stand-up and live art that ignites your enthusiasm and lust for life with Victoria’s own rituals of self-discovery.
Following a successful run at last year’s Edinburgh Fringe, “Headset” has a 22-venue tour this Autumn across the UK. That in itself is a huge achievement, considering the challenging times for the small-scale theatre touring circuit and current funding cuts. Now in her 40s and originally from Chester (“I’m from a working-class family with Tory parents”, she jokes in an interview), Victoria graduated in Fine Art at Newcastle and developed a very unique path as theatre maker and performance artist. Melody is a powerful female voice in the stand-up circuit – blending documentary theatre and video and embedding in her work peculiar approaches in search for authenticity, connection with audiences and, ultimately, herself!
Dressed as a funeral director (the subject of one of her previous shows), Victoria starts the piece by talking about her work. “I make and perform theatre shows about Britain’s enthusiasts. I am passionate about other people’s passions”, she says. She works like an anthropologist, immersing herself into communities over three or four years and then makes a show about them; “Demographics of a Pigeon Fancier” (2009) is a study of the British pigeon fanciers racing season. “Northern Soul” (2012) explores the dancing style. “Major Tom” (2013) combines dog shows and beauty pageants, highlighting the absurdity and impact of conforming to beauty standards. “Hair Peace” (2015) delves into the ethics of the human hair industry, “Ugly Chief” (2017) emerges as a response to her father’s terminal illness misdiagnosis, using humour and heart to confront the taboo surrounding death. She points out that she fell out with her dad during the tour of “Ugly Chief” …so…she needed a big change…what was she going to do now?
The origin of the word “enthusiasm” comes from the Greek enthousiasmos: “divine inspiration, be inspired or possessed by a god, a goddess, be rapt, in ecstasy”. Victoria comes across “just like that” (as Tommy Cooper would say): a true Goddess in her own right – curious about people with the inventiveness to express her discoveries. She reminds us of extraordinary performance artist Bobby Baker, with her charm and quirky view of life.
Having worked as a video artist, Melody uses video the medium in an uncluttered and gentle way connecting the live action with images of her past, with quirky graphics to great comedic and plot development effect.
Tired of her theatre career she declares: “Enough was enough. I was tired of just being poor and feeling useless. Enough was enough. My life would fall apart if I didn’t change something…So f*** theatre. I’m going to become a well-paid, famous mortgage worthy stand-up comedian!”. We all laugh.
The piece follows trials and tribulations on her path to becoming a “mortgage worthy” stand-up comedian (she’s currently selling her boat by the way, she jokes). She reveals the inner works of the technique: “Set up, punch, exaggerations. Set up. Massive, giant punch. Rule of three. Set up, punch, punch, punch. Pull back and reveal…I was sh**”, she declares.
The teacher character plays an important role, representing “the establishment” as well as “her critical inner voice”. “How is this going to go down in Hull or Derby? the teacher challenges. Later, Victoria says: “Stop stereotyping nights out in different places”.
She recounts one of her first routines: “Icelandic horses are my favourite breed of horse. They’re small and hairy and best of all, they have five gears. Normal horses have four gears. They walk, they trot, they canter, and they gallop. Icelandic horses do all that and they also tölt. Tölt is Icelandic for “a gliding gait”. She then demonstrates. “Oh. Ow. It’s very uncomfortable on the crotch”. Then “This is a tölt. Wow. It’s so smooth. It’s like the horse is ice skating.” With her big, surprising eyes she delivers: “It doesn’t hurt the crotch at all. Why walk when you can tölt? That’s Iceland’s catch phrase”. Pause. Silence. Audience cracks up.
Victoria plays numerous characters besides the teacher: a funny “Hull Hoola Balloon” man, David Attenborough, (which, she jokes, comes out more like Margaret Thatcher), a barista, and others. The soundscape for the show is detailed and audios of her mum weave the narrative, describing how “little Vic” was as a child, in ballet, dropping keys in post boxes, and being herself – “I wouldn’t change it for the world. I think what you’ve got is very unique, but I wouldn’t even call it a problem. Vic, it’s not a problem, is it?”. With that question in mind, our heroine continues her quest.
The set has four chairs, a big plastic box, cables and props: a tambourine the teacher bangs when she disapproves of her behaviour, a beautifully crafted wheel with 5 masks that is spun to choose different personas”. She jokes “I shouldn’t use props, you see!”, as she gets tangled up in them and the microphone. She shares that her technical manager takes the mask wheel to the hotel as it won’t fit into the camper van, she sleeps in.
Melody encounters numerous challenges and as she experiences difficulties with words, visits a speech therapist and is diagnosed with ADHD. “Oh no!”, she thinks. “I’m Vic. I’m thick”, full of inner doubt, she feels incompetent and a failure.
In a previous interview, Melody has expressed her ADHD diagnosis as a profoundly liberating experience and that the show is a grand celebration of her newfound authenticity. “absolutely freeing…. This is my brain. I’m not masking anymore. This show is a big celebration of that…. And my performance on stage now is the best performance that I’ve ever been able to give”.
I dare to say that Melody has found her “clown’s intelligence”, as the great clown Angela de Castro would describe it. Clowns have their own intelligence, guided by their sense of curiosity, openness and naivety for the world. Melody exhibits all those clown-like qualities.
Even though she says the show is not “meta” (a stand-up show about stand-up), the piece is a reflection on the genre and plays with it expertly. At one point she jokes: “Are you going to do performance art now and alienate your audience?”, she says no…but she does. Melody is playing with the relationship with the real, with personal history, representation / non-representation and use of new technologies – aspects that performance art has always dealt with and that are embedded deeply in her practice as an artist.
Clowns fail, get up and do it again. And again. And again…never losing their enthusiasm. And so does Victoria. She decides to talk to a neuroscientist, her friend Silvana de Pirro. Melody starts wearing a portable electroencephalography headset that tracks her brain activity during her stand-up performances. Previous audiences found this hilarious, and we’re shown accompanying video footage.
Victoria continuously fails as a standup comedian and the show culminates with a magical scene where she is due to perform in an important stand-up gig, with headlining comedians and she appears on stage with a homemade Faraday cage and a laptop held close to her head. This is an amazing scene where time freezes, and our attention is totally focused on Victoria. She talks to “little Vic” again and again. It’s as if the actual headset device “dives” inside her feeling and emotions – the piece meets therapy, self-help in a light and playful way. “I’m Vic. I’m thick”. No more of that. It’s about acceptance. She looks at “Little Vic” and says, “I imagine little Vic, how desperate she was for someone to tell her that she wasn’t lazy or stupid or defective, that she wasn’t a baby.”
In a touching and insightful moment, she tells us: “I stopped measuring success using somebody else’s measure. Like I was a kid who just got comfort from putting jar labels, so they all face the same way and who got overwhelmed at injustice…”
She goes on to tell us with glee about her next passion and project: “I’m a musketeer in an English Civil War reenactment society”. We laugh and are genuinely curious about this new project.
Melody concludes the show with charm and eccentric flair… “and if you think of me as an Icelandic horse, then this all makes sense, because we should all get to choose the horse we want to be. Because I could walk off stage, but why walk when I could tölt?”
Beautiful, brave and bonkers “Headset” will inspire you to find your own outlandish passions and accept yourself.
Credits:
Director John Gordillo
Writer Victoria Melody
Set and costume designer David Curtis-Ring
Lighting designer Sean Phillips
Updated and restaged with Bryony Kimmings
Musical director and composer Tom Parkinson
Cast
Victoria Melody
Video appearances from Dr De Pirro and Mitch Mitchinson
“Headset”, 2023 Autumn Tour
03/10/23 – Chipping Norton, The Theatre
05/10/23 – Guildford, Yvonne Arnaud Theatre
06/10/23 – Birmingham, mac
07/10/23 – Harrogate Theatre
10/10/23 – Hexham, Queen’s Hall Arts Centre
11/10/23 – Kendal, Brewery Arts
12/10/23 – Leeds, The Old Woollen
13/10/23 – Barnsley, The Civic
17/10/23 – Norwich, The Garage
19/10/23 – Manchester, The Edge Theatre & Arts Centres
20/10/23 – Wolverhampton, Arena Theatre
24/10/23 – Brighton, Attenborough Centre for the Creative Arts
25/10/23 – Brighton, Attenborough Centre for the Creative Arts
30/10/23 – Cardiff, Chapter Arts Centre
31/10/23 – Bristol, Watershed
01/11/23 – Havant, The Spring Arts & Heritage Centre
It would be a fleeting affair in London to make sure I was celebrating with The Tallis Scholars. Something I did not want to miss. In the wonderful atmospheric Middle Temple Hall, known for its first recorded performance of Twelth Night, the evening went by in a flash.
Drink and canapes were flowing throughout, as things started off with Palestrina’s Magnificat Primi Toni and the eternal Misere by Allegri. The balcony space was utilised for both works, this opening gave you the feel for this choir, their mastery over polyphony and admiration of religious works. There was a marvellous vibe to proceedings, the audience blessed to hear such things. The latter was a highlight, with its serene high notes and it’s tennis match between both choirs in the space.
American writer Leon Wieseltier gave a fabulous speech about his first time hearing the Scholars. Passing the church in which they were singing, he fell in love with them all those years ago and has continued to give unwavering support to them ever since. His writing was highly eloquent and often funny. Caroline Trevor, wife to conductor Peter Phillips, also recounted many years with the choir as singer, leading later to romance. Their was a nice slab of gossip in this speech, personal insight which went down well, Peter beaming in the wings.
I’m glad there was a world premiere, this time from Nico Muhly and his A Glorious Creature. Taking Thomas Traherne’s words, a piercing perspective on the sun and its radiant light giving, Muhly has written a piece which didn’t excite me. It was a sort of strange slice after slice of the words, the singers each getting turns in the polyphony. It was pleasent, but left me a bit chilly.
John Tavener’s Song for Athene needs little introduction. Written as a perosnal tribute to a family friend, it would later be catapulted into fame with it’s usage at Lady Di’s funeral. Here the Scholars offered up a well sculpted and tender version, I found myself in bits. It was a special addition with Lady Tavener present, we lost Sir John some ten years ago. Arvo Pärt’s Virgencita ended this second set with more touching auroas and a reminder of his talents still going stong in his 9th decade.
James Jolly, Editor-in-Chief of Gramaphone also recounted good times with the Scholars, we were offered a tribute copy of the magazine with a history of the choir. Peter Phillips gave the final word, in a speech filled with pride, also acknowledging the pitfalls of the past and present taking them on international tours. We we given goody bags with the aforementioned magazine and Peter’s unexpected flutter into book form about the restaurant they frequent after reharsals.
It was all very inspiring seeing how much of a success they have been, 50 years is quite a long time really. Of course, things had to end with Tallis himself and we had three works: Loquebantur variis linguis, Suscipe quaeso and Gloria from Missa Puer natus. It couldn’t have ended on a finer note with their namesake composer that they have honoured countless times. These sweet pieces crowned the night, their affirming faith, their simple simplest registers and easy listening appeal had us leaving the event with much contentment.
The unassuming Ustinov Studio in Bath sees a season with acclaimed director Deborah Warner for what should prove to be a highlight of the theatre calendar. Tackling Sophie Treadwell’s blazing play, a guest appearance from another titan Richard Jones directs in his fashionable and sharp way.
Jones’ work I know best through his time with Welsh National Opera and English National Opera, the former’s Olivier winning take on Alban Berg’s Wozzeck fittingly mirrors Machinal. The Yellow Wallpaper of Charlotte Perkins Gilman permeates the space in Hyemi Shin’s angular and claustrophobic set. The hectic ensemble of actors plays multiple roles as commuters, workers, medical staff, drinkers in a bar and more. The energy here is affirming, Treadwell’s musical and punchy lines are tight and in moments are profoundly abstract and true.
Jones knows what he’s doing. Sat in the front row makes for an incredibly heightend encounter. The patter of conversations, arguments, clatter of dishes, screaming and a pounding bulldozer never quite leave your ears, sound design by Benjamin Grant wonderfully also adds to the absolute din of the whole thing. The futility of the whole thing, the sadness seen with this Young Woman who is bludgeoned by all, forced into a marrige she doesnt want, a child she can’t look after and a tragic decision leads to her execution. Loosley based on the real life story of Ruth Brown Snyder, who murdered her husband, begin was the first woman in the US to get the electric chair. One wonders just how many people now and in the past find solace in story, in the play the leading lady stutters, has panic attacks and other anxious bouts.
Rosie Sheehy has given an unforgettable performance in what is not an easy character in anyones eyes. Her spasms, tics, pounding, flinching all add to a well crafted offering. I found it hard not to hear Lois Griffin in her accent, the play capturing the spirt of New York frenzies. Tim Frances as Husband feels compasionate, if complicit in his misogyny, in well acted form. Buffy Davis is the despondent, Irish Mother, some great humour and maternal blathering. The Young Man, whom our lady has a passionate affiar with, is a lovely Pierro Niel-Mee. The character has some flippently racist remarks of the era (1920s), though this one night stand proves a toxic trait, if it saved our lady even just for a few hours. Pierro works as this sort of sexy saviour, chemistry between both actors faired well. Though his betrayal is all to much.
The troupe of actors mesh around the tight stage, accents strong and a well placed aura is in the air. I spoke of energy and their passion, this must be a cracking play to be part of. The framing of each part, sees an actor place a wooden relief of each scenes name to be hung above all, the shadow of which almost mimicking the wings of freedom our lady yearns for.
Machinal runs at the Ustinov Studio till 18th November 2023
There is a hunger to perform Wagner from amateur orchestras. Perhaps the demands asked from this problematic composer seem less daunting today, though command in vocals and a robust orchestra must simply give all.
Part of Wagner’s Der Ring des Nibelungen, the remarkable four part, 15 hours behemoth, The Valkyrie is the second outing. This first act is the most intimate of the enquire Ring, with just three characters in an hour timeframe. The twins Siegmund and Sieglinde who were separated at birth, rediscover themself…with knowing romantic intentions. With the latter married to Hunding, this act sees the twins father Wotan loom over it’s entirety.
This is the only opera where the ring of power forged in the last part Das Rhinegold, is never seem and the actions of Wotan to secure his reclaiming of the ring again sets the story in motion. The lover twins leave Hunding in the night (who was already mortal enemies with Siegmund anyhow) pulling Wotan’s sword Nothung out of the massive tree in the centre of their lodgings as fate foretells.
I was impressed with the orchestra, filled with proclaiming Wagner Tubas, patient harps and pounding timpani. Sat in the front row, I also realised just how much orchestral weight there was to the celli, who get some ravishing moments in this opening act. The romantic feel towards the twins spreads over the musicians and they all get swept away in this strange love story. The swarm-like opening has the strings able and willing to muster up this piercing prelude, as Siegmund escapes the hunt from Hunding and his men in the forest. You can expect Wagner to be loud and the attractive church acoustic caught this thick sound to the roof.
Even with the sweeping amore, comes Wagner’s heavy later compositional style. Our three soloists did a grand job of keep the pace and the drama up for the duration. As Hunding, James Platt oozed into it the horrid nature of this villain. His bass was like a very fine honey, the snarling, vicious line tackled well and you could very easily see him on stage in the role.
Fiona Harrison-Wolfe made for a resplendent Sieglinde, though on a few occasions the orchestra drowned her out. Never an easy role, this being the only character in all three huge acts of Valkyrie, Sieglinde boats high register climaxes and more sincere, homely moments too. Fiona ventured well into this, also thanks to the support from tenor Gareth Dafydd Morris as the love interest. Gareth is a familiar face in Cardiff, this feels like a treat for him.
The declaratory and soaring vocals of Siegmund gave Gareth time to shine, the duet at the end with Fiona a highlight. Affirmed conductor Martin McHale had lots of rehearsal time with the players and it showed. Some brass and light woodwind fluffs may have been expected, due to the demands put upon them but it went along without a hitch.
Not many plays start with the actor already onstage, but this production of Carwyn makes you feel immersed from the very start as the audience is taken on a journey of a man that is sadly often forgotten, but he’s one worthy of being celebrated and remembered in Welsh culture.
The play begins and ends with the passing of Carwyn James but throughout the piece, the audience is hooked by the outstanding performance of Simon Nehan . Nehan tells a story of Carwyn reflecting on the good and bad of his life that is well worth knowing. We see two sides of Carwyn, one in which the whole world got to see, the way he felt how he had to be perceived on the outside, and the raw and real side of Carwyn, who spent his life hiding his true self from a brutal society as he was a man, simply living ahead of his time.
Showing both sides of Carwyn through the talented writing of Owen Thomas and the brilliant directing from Gareth John Bale, was something so impactful to watch as his eye-opening story is a story that is heartbreaking, relevant and necessary. I can say without hesitation that Carwyn the play is a production deserving of a standing ovation and if I was to watch it again, I know I would be moved and feel a little more impacted each time.
Carwyn the play grants the audience an intimate view into Carwyn James’ private life, revealing a side of himself that he spent his life hiding from a judgmental and unaccepting society. This is a story, often heartbreakingly forgotten, but one that deserves to be celebrated in Welsh culture.
“People shouldn’t fear death, they should fear they didn’t live their best life”- Carwyn.
As he passes, Carwyn’s life flashes before the eyes of the audience. From his triumphs to tragedies, Carwyn’s story is one that must be told. We see Carwyn as who he was to the outside world; who he felt he had to present himself as, because he felt that the time he lived in was not a place for his true self. This play shows us this version of Carwyn, but also, who he was in his solitude. As a result of this, there is something so heart-rending, poetic, and beautiful about this piece. The skillful writing of Owen Thomas, powerful performance from Simon Nehan and the impactful directing from Gareth John Bale put together capture Carwyn’s story in a poignant and moving way; that was undoubtedly deserving of a standing ovation. This is one of the few pieces I have ever seen that I can confidently say that if I watched it many more times, I would be in tears at the end of each and every one.
Suitcase Theatre, a local community theatre company, started out in 2008 with a production of We’ll Keep a Welcome- a play about evacuees from Liverpool and Merseyside who came to live in North Wales in 1939. The use of local stories and topics has been a long-running focus for Suitcase Theatre as well as revivals of classics such as The Birthday Party and Waiting for Godot. The company pride themselves on bringing together a wide range of performers- young and old, experienced, and less so, amateur, and professional and have participants from North Wales, Cheshire, and the Wirral.
The Winter’s Tale is one of Shakespeare’s lesser-known plays and was one of his last, written around 1609-11. The first recorded performance of the play was at The Globe on May 15th, 1611, and later that year it was presented at Whitehall before King James I. It provides us with one of the more challenging stage directions- ‘Exit, pursued by a bear’ (in this instance a member of the company dressed in a questionable costume- if Shakespeare were alive today, perhaps he could have written ‘Exit, SFX of bear in pursuit’!)
It’s difficult to give a brief summary of any of Shakespeare’s plays but more so with his last, lesser-known creations. The Winter’s Tale offers countless themes throughout its tragi-comedic plot – love, jealousy, rage, mistaken identity, reunions, and it really is a play of two halves. The first, clearly tragic- disastrous if you will; one full of bitterness, sadness, and death and if we are going to label this play, we would certainly conjure the word ‘tragedy’ as Act 1 unfolds. It is reminiscent of Othello- the insanely jealous husband, wrongly accusing his wife of an affair, and so catastrophe ensues. However, as Act 2 begins, the audience wouldn’t be judged for believing they had sat down in the wrong auditorium- the piece is uplifted by the appearance of Autolycus, of the Old Shepherd and his son, Clown. We’ve gone from Winter and 16 years have elapsed in minutes as we give way to Spring- with the passing of time as well as with lighter themes of family, forgiveness, and rebirth.
As the play opens, the cast have their backs to the audience, and it is clear we are at a celebration- the guests are dressed to impress and on the screen are fireworks. The use of the screen is effective throughout, particularly to convey the passing of time with the moon in its different phases. The scene transitions are consistent with blackouts in the right places, slick movement of small set pieces and atmospheric music or sound effects to signify the mood or time of day. The performance is mostly done in black box with a few simple additions such as chairs, tables, or dividers and none of this distracts from the action. This is my main take-away from Suitcase Theatre’s production- that due to the simple set and timely costumes it is much easier to concentrate on the language; to really listen to and understand what’s being said. There are a few missed lines, mainly down to projection issues (as well as very heavy rain on the night in question!) or characters aiming their speech at each other rather than out to the audience on occasion, but overall, the speech is clear, and it is wonderful to truly focus in on the wonderful words that Shakespeare provided to actors and audiences alike.
The casting is excellent and there are moments I forget that I’m watching an amateur production. The word ‘amateur’ unfortunately carries such negative connotations but that is exactly what this production is. None of these performers or members of the production team are being paid for their hard work- they’re doing it because they love what they do. And there are some superb performances- most notably from Si Kneale as Leontes who not only has an awful lot of dialogue to learn but portrays the character with just the right amount of madness and regret- as an audience we trust this actor in this role, and he is unwavering throughout the piece. Ruth Huish as Hermione is beautiful and we truly empathise with her plight, no more so than during her speech to illustrate her innocence to Leontes- Huish delivers this with verve and poignancy. Connor Jones as Autolycus lifts the piece in Act 2 and is clearly a natural performer with a talent for accents. His likability factor brings a real charm to the production after a hard-hitting first half.
You’d be hard met to find a local community theatre group willing to give Shakespeare a go, but Suitcase Theatre did it with enthusiasm (lots of it brilliantly displayed via rehearsal photographs etc. on their Facebook page!), professionalism and lots of hard work- having only rehearsed for this piece for around 6 weeks! It was wonderful to see such a variety of performers on stage too- including some very talented youngsters! Huge congratulations to all involved- if you have chance to see this production, I’d highly recommend it!
The Winter’s Tale is playing at Theatr Clwyd until Saturday October 21st. To book your tickets, please head to the website…
The Winter’s Tale | Theatr Clwyd
Cast
Leontes- Si Kneale Hermione- Ruth Huish Mamillius- Isaac Huish Perdita- Zoey Owen Polixenes- Andy Jordan Florizel- Ioan Eldridge Antigonus- John Wylde Paulina- Rowena Owen Cleomenes- Kevin Taws Dion- Peter Thorne Emilia- Lin Blessing Julia- Pauline Marsden Rogero- Stewart Venables Demetrius- John Owen Camillo- Niall Heaton Officer- Richard Thornton Gaoler- Will Wood, Dylan Roberts Benvenuto- James Bennett Mariner- Will Wood Archidamus- Deborah Thomas Autolycus- Connor Jones Old Shepherd- Gwyn Brick Clown- Tom Cutler Cassio- James Bennett Mopsa- Lin Blessing Dorcas- Pauline Marsden Quinto- Dylan Roberts Guiseppe- James Peacock Eufrasio- Peter Thorne Time- Connor Jones Slaves of Time- Dylan Roberts, James Bennett Bear- a member of the company
Production Team
Director- Mike Stevens Production Manager- John Owen Stage Manager- Gordon Peterson ASM (Props)- Richard Thornton ASM- Deborah Thomas Deputy Stage Manager- Graham Sherwood Lighting and Special Effects- John Owen Sound Design- Ellie Wylde Composer/ Music Director- James Peacock Stage Designer- Paul Jones Choreographer- Karen Campbell Wardrobe, Wigs, Hair & Makeup- Rowena Owen Publicity Design- Peter Taylor Chaperone- Nerys Bennett
Based on a true story in Cardiff, a serendipitous encounter between Jim, a Cardiff University student, and Alan, a lifelong resident of Ely Hospital born with Down’s syndrome, sparked a profound shift in the realm of care and support. Alan yearned for a place to call home and had a dream: to join a band. Jim, on the other hand, aspired to change the world, though he wasn’t sure how to make it happen.
Hijinx, a leading inclusive theatre company, partnered with the Sherman Theatre to create an extraordinary gem of a theatrical performance that takes the audience on a rollercoaster ride of emotion and reflection. “Housemates” isn’t just a play; it’s a profound exploration of the human spirit.
Set against the spirited backdrop of the 1970s, “Housemates” introduces us to a robust cast of seven neurodivergent and neurotypical actor-musicians who infuse the narrative with a powerful soundtrack featuring classics from T. Rex and Sweet. Playwright Tim Green dedicated two to three years to bring this story to life. Co-director Ben Pettitt-Wade emphasizes the significance of visibility, inclusivity, and the transformative power of human connections within our society. Co-director Joe Murphy underscores the exceptional nature of this story, one that embodies inspiration while remaining curiously overlooked in Cardiff.
The wonderful ‘70s costumes and the inventive set by Carl Davies transports us to the world of Ely Hospital in 1970s Cardiff. With its green-tiled floor, occasionally scattered with blown orange leaves, and a well-worn wall where the band resides, it visually captivates.
“Housemates” brims with humour and gentle clowning but is unafraid to tackle serious issues. The play courageously sheds light on the derogatory language of the past, such as the dehumanizing term “subnormals” and the terrible legislation of yesteryear like the 1886 Idiot’s Act and the Mental Deficiency Act 1913, which saw over 100,000 people institutionalized.
Actors masterfully navigate delicate subjects with a finesse that is both poignant and humorous. “Are you going to take the ‘angry pill’?” asks the female nurse before the male nurse strong-arms Alan. In another moment, Alan proclaims, “I want sex! In the house… it’ll be like… I am a sex God!” This statement is met with uproarious applause from the audience.
The set is as flexible as it is imaginative, with props ingeniously transforming: a metal frame becomes a bus stop, a trolley of books symbolizes the library, and a hospital bed serves as Alan’s room. Papers tossed in the air symbolize the persistence of the characters as the house application is denied, eventually leading to their triumphant departure from the hospital, each clutching their belongings in bin bags.
The culmination of this incredible journey occurs as Alan triumphantly declares, “This is my house!” Bedecked in a David Bowie-esque costume, he takes to the drums, igniting the stage with electrifying rock ‘n’ roll energy. Alan’s heartfelt dream becomes a reality, culminating in a grand finale with him shining as a drummer, joined by the entire cast as well as extra actors from the Hijinx Academy. Beneath the societal transformation lies the profoundly personal journey of an individual who, after a lifetime within hospital walls, discovers his own stage as a rock star in his own home in Cardiff.
“Housemates” offers a multifaceted theatrical experience, delivering laughter, tears, and a nostalgic journey. With an anarchic and rebellious flair, the show inspires us to close the absurd ways in which neurodivergent people were treated and motivate us to create change and end injustice.
The show is a tale about being genuinely inclusive; it’s about home, identity, and ultimately about taking action. It’s an extraordinary odyssey through time, friendship, and societal transformation both within and without, captivating audiences at the Sherman Theatre, which coincidentally celebrates its 50th anniversary this year.
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
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