(4 / 5)

A Perfect Introduction to Theatre

Elgan Rhys’ adaptation of Goldilocks at the Sherman Theatre is a magical production that offers a wonderful introduction to theatre for young children. The piece, directed by Nia Morris, is a modern re-telling of the classic fairy tale. Although audiences will recognise the names of the characters and references to porridge, chairs and beds – the story moves in a different direction.

Goldilocks, played by Elin Gruffydd, is a friendlier and more endearing version of the character that we are used to. She is an upstanding citizen of ‘Golden Town’ where her grandmother is the mayor. Goldilocks abides by the town’s endless list of rules, many of which are centred around an obsession with all things yellow, and she has achieved one of the highest accolades by growing the finest golden locks in town.

Things take a turn for the worst when Goldilocks discovers blue locks amongst her golden mane. Embarrassed and ashamed, she flees to the “periphery”, the outskirts of town where those that are different are banished and, according to legend, eaten by gruesome bears.

The fun, colourful bears that Goldilocks meets could not be different from what she was expecting – they even eat porridge with oat milk and sit on rainbow-coloured chairs! The bears challenge Goldilocks’ perceptions, helping her to embrace her new hair and teaching her to understand the importance of being herself. Inspired by this experience, she returns to Golden Town to champion the joy of being different.

The story has a strong, positive message that is told in a fun and engaging way, using catchy songs and puppetry to keep young audiences enthralled throughout. Actors Carrie Munn and Rhys Ap Trefor who each played multiple roles interacted beautifully with the audience; at one point some children edged so far forward into the performance space they were practically sat on their laps but they incorporated this into the action and were able to expertly coax them back into the seating area.

The show is performed in the Sherman’s Studio Theatre where audiences have the option of sitting on benches or on the floor on large pink mats. The space is very friendly and welcoming which helps to relieve any fears that parents might have about keeping children quiet and sitting still for a long stretch. There seems to be a general acceptance that the audience probably will make some noise, eat sweets and wriggle about a bit. That being said, the level of concentration and excellent behaviour in the room is a testament to the quality of the performance – the audience were totally enraptured.

With a 50-minute running time and no interval, this delightful reimagination of a well-known tale is the perfect festive treat for a young family. We had a really enjoyable afternoon and would certainly recommend this performance as a lovely outing for families with young children.

Elen Benfelen / Goldilocks is at Sherman Theatre, Cardiff until 31^st December 2022.You can find out more and book tickets here

Throughout the year the inclusive community focused Sherman Theatre in Cardiff, put on a variety of performances and free activities. 

The outside and interior of the Sherman has been revamped in the last couple of years and is elegantly decorated, modern seating and lighting. 

Most recently the Sherman Theatre have also reached out into the heart of the local Cardiff communities, bringing the arts to the people.

I went to one of the Tales and Tea sessions at the Beacon Centre in St Mellons, to see A Better Land, by Catherine Dyson. The intimacy and no frills props, added to the enjoyment. Having a chat with the actors afterwards was a great way to share feedback and discuss the storyline.

This week, we had a midweek family treat to see Tales of The Brothers Grimm at the Sherman Theatre.

It surpassed my expectations, and personally, it was one of the best shows that the Sherman have put on in the lead up to Christmas, over the past decade.

I was blown away by the performers talents. Each and every one of them, played their character so well. Whoever cast the positions, did an excellent job. Notice I said talents. That’s because they all had multiple roles weaved in, acting, singing and playing an instrument.

What is Tales of the Brothers Grimm about?

Tales of the Brothers Grimm written by Hannah McPake, reimagines the stories of well known fairy tale characters.

On a journey to find her own story, Stevie, comes across Cinderella, Sleeping beauty and Rapunzel. Disaster happens, the stories aren’t as they are suppose to be. Together with the narrator and Prince Charming they journey to find the Brothers Grimm, who they hope can fix it back to how it was, and even give Stevie her own part in her own story. They believe the big bad wolf and Snow Queen is set out to destroy it all. But with a twist!

The show was very well written and scripted, with humour and fun, and a sincere message.

I liked how they began the show by entering at different positions in the auditorium. I could see the range of emotions the story and songs brought to the audience, including my own children. The warm soft songs, some with sadness and some with positivity, my children clasped my hand and pulled in for a hug, and the upbeat songs with audience interaction making them laugh and clap.

My eldest son asked if there is a soundtrack to purchase as he enjoyed the music so much.

The programme was family orientated with colouring and puzzles for children.

The smoke effects added to the atmosphere, maybe a bit too much at times that you couldn’t see the characters on the stage.

There were a couple of songs I couldn’t hear the words in the song clearly. This is just me being super picky by the way!

Overall, an exceptional performance! A huge well done to the whole cast, backstage, production, ushers, the staff and volunteers that make the theatre come to life.

I highly recommend a visit to see this show, which is on now until it finishes at the end of December.

Don’t miss out!

I want to come back a second time!

Find out more here and to book:

(5 / 5)

As far as I’m concerned, the festive season doesn’t begin until I’ve been to see Theatr Clwyd’s infamous rock ‘n’ roll pantomime. This year it just happened to be one of my favourites tales-the tale of Robin Hood. Although what would this story be without the heroine, Maid Marian? Or MariOn as we say in Wales!

Upon taking our seats we enter the forest. In front of us, giant trees with tall branches on which hang posters declaring ‘We love Robin Hood’. In the centre, what looks like a tangle of circular green branches, on which is hidden the name of our hero; the ‘o’ in Robin cleverly disguised as a target and arrow which light up. We’ve already been transported to where our story begins, in Flint-sh-sh-shire, as the Sheriff believes it’s pronounced, much to the frustration of his subject, Clod!

Once again, the cast enthrall us with their many talents; sword fighting one moment, next playing the drums for a big musical number, then singing a power ballad full pelt before completing a costume change and dashing to the top of the set to play keyboards without the audience even noticing the transition! Just incredible. And the reason, for me, that Theatr Clwyd’s panto is head and shoulders above the rest!

Let’s just hope that this remains the case once director, Tamara Harvey, leaves her post to take on the role of Co-Artistic Director of the RSC next year!

The action kicks off straight away and it’s not long before the water guns are out, and bubbles are filling the auditorium! As ever, the music choices throughout are unique and punchy. The cast always surprises with songs you wouldn’t necessarily expect to hear in a traditional pantomime. This year we have a Beastie Boys classic, Lizzo’s Good as Hell, and a rip-roaring rendition of what has become the Welsh football team’s unofficial anthem ‘Yma o Hyd’, although this may not feel quite as uplifting now that the team are out of the World Cup!

Phylip Harries’ Dame, Lady Myfanwy of Mold, is right on target (sorry!). His comic timing, interaction with the audience and chemistry with his fellow cast members, particularly the ever-amusing Daniel Lloyd who plays Little John, are all superb, and his transformation into Wonder Woman is something to behold! I’m convinced the creative team dare each other, every panto season, to push the boundaries with the lewd jokes! Always tastefully delivered and appropriate enough to bypass any little ones in the crowd, the adults amongst us were in for a treat! One particular line about a casserole almost made me blush!

As always with a Theatr Clwyd panto, the Welsh language is heard plentifully throughout the production with frequent mentions of local places from Flintshire to Rhyl, Mold to Wrexham as well as greetings from each character often delivered in both English and Welsh. It’s so refreshing to hear real Welsh accents, lots of local references as well as Welsh songs and music underpinning the whole piece.

Stand out moments this year include Celia Cruwys-Finnigan as Maid Marion. Celia is a little pocket- rocket and portrays Marion perfectly: shifting from an underrated, pretty Princess to an awe-inspiring female with attitude. And for such a petite person, she has a huge set of lungs! The costumes also provided plenty of ‘wow’ moments, none more so than King Gruff’s final, and only, costume, which, to the untrained eye, made it look as if his subject (aptly named Drakeford!) was carrying him on his shoulders! Brilliantly funny! Also watch out for the lip sync challenge, a scene in itself, and one which has children and adults alike in fits of laughter

However, the highlight for me, and others I’m sure, is Ben Locke as the Sheriff. Last year, Ben played Barry Island (the ‘Gaston’ character in Beauty and the Beast) and did such a fabulous job at being the villain that he was surely the obvious choice for the Sheriff. Ben seems to have a knack for playing a fantastically evil, handsome yet extremely camp baddie! Every line he delivers is flawless, his physicality is phenomenal and his comic timing perfect. Every facial expression is thought about and he’s clearly just having a wonderful time with this character!

Theatr Clwyd have done it again and brought to life classic tale in a very un-classic way! ‘Oh no, they haven’t!’ ‘Oh yes, they have!’

Theatr Clwyd, Mold
November 30th, 2022-January 12th, 2023
Writer: Chris Patterson
Director: Tamara Harvey
Assistant Director: Juliette Manon
Casting: Kay Magson CDG
Set & Costume Designer: Adrian Gee
Musical Director: Tayo Akinbode
Choreographer: Annie-Lunnette Deakin-Foster
Lighting Designer: Johanna Town
Sound Designer: Matthew Williams
Company Stage Manager: Cassey Driver

Cast includes Joe Butcher, Celia Cruwys-Finnigan, Connor Going, Caitlyn Lavagna, Lynwen Haf Roberts, Luke Thornton, Daniel Lloyd, Phylip Harries, Ben Locke, Alice McKenna, Chioma Uma
Running time: 2 hours and 20 minutes (inc. interval)
Photo Credit: Kirsten McTernan

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(3 / 5)

It’s been a mere seven weeks since Dyad Productions has graced Chapter once again. This time it’s for the spooky season, when the clocks go back and a general eeriness lingers in the air. We’ve been truly lost in our screens this Halloween seasons, Dahmer on Netflix’s has both horrified and caused outrage in equal measure. The smash hit, UK made puppet show Don’t Hug Me I’m Scared finally saw it’s Channel 4 premier, disgusting and brilliant for it six episode run. Though Female Gothic tries to go back to the horror of the old school, the OG if you will.

It’s easy to look back at the Victorians as another world, yet their perspective on death still has a clutch on society today. People such as Ask A Mortician on YouTube have tried to look at the Victorian way of handling death and funerals, with a new approach to the deceased. Many of these macabre stories prove their fear of dying and also what lies beyond. Dyad have evoked three similar stories, one that would not feel out of place in The Tales of the Unexpected. They mostly involve the regret of a past love through grief, the quest for knowledge and its downfall alongside the worry of maternal death. All of this is in the Gothic vein so its ghosts, an exotic potion from the south seas and a dark spirit that wouldn’t sound out of place in a manga.

Rebecca Vaughn holds us in the space in what was a rather chilly depth for the evening. Her entire costume is expectedly black and imposing, yet beautiful. Her diction is something I’ve been taken with after hearing her in A Room of One’s Own, the candlelit and soft lamp hue of the theatre had a evocative vibe, perfect for the context. I craved a bit more sound work and music in particular passages of this trio of stories, though the silence was highly effective in other moments. Dyad has proven the legitimacy of intimate theatre shows, with an ever increasing list of one woman pieces, made marvellous thanks to the ardour of Vaughn.

Female Gothic continues on tour, along with Christmas Gothic. Dyad Productions will present a new version of A Christmas Carol next winter.

(5 / 5)

So it’s 20th October 2022, and I’m in my hometown of Porthcawl, walking up to the Grand Pavilion, a place I have frequented often over the past 23 years of my life. The lights from inside reflect and shine on the seaside town, but this time, we’re going downstairs. We’re going to watch a production by Dirty Protest called My Mix(ed up) Tape. I’m not sure what to expect but I’m excited, I’m ready to go in with an open mind. We head downstairs. It’s an encouraging number of people in the audience, and quite a different target to those who usually attend the performances in our small town. I’m pleased. The stage is set up with projections, and subtitles, and the room is set up with small round tables. What am I in for? I’m hit with music. DJ Glade Marie is vibing on the stage with her DJ set up, and suddenly I’m vibing too. I order a beer at the bar, sit down, and take in the atmosphere.

Then there she is, Katie Payne. A burst of energy, and we are thrown in straight away. Immersed in her story telling. I love her voice, she has a great Welsh accent that just makes me feel at home. She’s come back home to Pontypridd after living in London for a while. She’s here for her cousins wedding. She’s just been chucked out by the bouncer. She’s causing a bit of havoc, something we realise may not be an uncommon occurrence for Katie. She may be the only one who’s speaking on stage but she is not alone. She knows the town and the people like the back of her hand. She physicalises them well, and she manages to bring them to life. It’s comedic, it’s fun, then suddenly, it’s dark.

Katie’s story is beautifully matched with a wide range of music that makes up her mix tape. The music is the second performer in this play. It makes me feel something- comfort, excitement, bliss. It elevates the moments and provides the perfect soundtrack for Payne’s story. I was really enjoying the different styles, some well-known classics, but also a few more obscure and underground tracks which I really appreciated. Music is clearly nostalgia and expression for Katie, and it’s the same for me. I felt connected to her. Like when a song you really love comes on and you find out your mate likes it too. Then all that’s left to do is dance.

Katie and Glade Marie had many subtle and unique interactions throughout the play. The little moments they shared felt sometimes like we were intruding on them as an audience. I was curious about their relationship, but it worked, and it left me wanting more.

Paynes’ performance was phenomenal and I was pretty speechless by the end of the production. The way she made use of the whole space, her voice, her movement, her energy, her pacing, were all on point and totally mind-blowing. I didn’t find myself disengaging once throughout the hour and fifteen minutes. I honestly don’t know how she did it, and how she made it look so effortless.

I couldn’t fault this production and I couldn’t give it anything but 5 stars. When you are let into someone’s mind, their vulnerability, their fears, and their truth, it’s such a privilege, and not one to be taken lightly. Everyone should see this production and have the privilege of witnessing Katie Payne’s performance first hand. The messaging is strong and I feel it would resonate with many audiences. This is a remarkable play, culminating from a raw female voice straight out of the Welsh Valleys. It’s overwhelming and confusing, It’s electric, it’s dark, it’s funny, it’s real, it’s brave.

It’s Welsh.

You can find out more about the tour and book tickets here