It has been with great delight that I’ve seen most of the recent canon of Lazarus Theatre in London. I’ve revelled in their bold take on the classics, a particular solid Doctor Faustus last year proving this.
Sadly, with the new year came a Hamlet which didn’t work on a lot of levels. Starting off with what looked like an AA meeting, declared as a safe space for the characters to speak their minds. It would have been a quirky idea to have had the Bard stripped back to just this scope, though the chairs are pushed away and a lot of tricks ensue. Michael Hawkey as the lead finds his first professional turn here and though it might not be the most remarkable take, there is youth, charm and some menace. There appears on surface level to be no Gertrude nor Claudius present which might be one of the major reasons why this cock-sure showing may not work as well as it should.
Photo credit: Charles Flint
The play maintains a flow as it went on. My major concern was the watery take on the verse and therefore the story. For it appears you may cut Hamlet down to a mere 90 minutes, but you’ve got to own this time and not always worry about fireworks. Director Ricky Dukes should be commended for his Russian Roulette risk taking here, though I did find myself bothered by multiple scenes. Hamlet still gets his Jeffrey Dahmer with Yorick, who’s head is plucked out of a fridge. Video work would show Ophelia’s real-time unending and a Mortal Combat style duel at the final were highlights. Hamlet’s death remained one of the show most disappointing aspects with alas, no ‘flights of angels singing thee to thy rest’.
The hustle of the cast would see some fine performances. Lexine Lee as Ophelia twas more retrospection then mania with with the role. Alex Zur is given little time to shine as Horatio, the rest of the players covering multiple roles and menacing proclamations as the father ghost.
Put simply I would have preferred to watch Mystery Science Theatre do their ribbing on an awful dubbed take on Hamlet on German TV back in the 60s. I’m still faithful for the rebirth of Lazarus once more.
Hamlet continues at the Southwark Playhouse Elephant till 4 Feb 2023.
From it’s humble start, Opera’r Ddraig have risen upward to stage familiar classics in spaces around Cardiff and on tour. Though with Bhekizizwe comes a much more diverse and contemporary scope for the company.
Dr Robert Fokkens from South Africa, now based at Cardiff Uni has composed the score and the libretto is penned by Mkhululi Mabija. We follow a young South African man Bhekizizwe Shange on his way to further education in both Pretoria and then London. With family, life and love interests adding to the story, he must find his way in the white mans world, proving himself as good as any of them. A partner of his in London would deliver a baby, much to the distain of the family of the girl, realising the child would be mixed race.
The near eccentric nature of the music, is usual Fokkens territory, his recent piano premier at the Vale of Glamorgan Festival also proof of this. There was dischord, there was harmony, though most alive in the piercing moments of drama in the second half of the evening, dance club music and a pounding drum solo from Michael Hearty. I’ve yet to see a bow scrapped across a cymbal more times then here as well. I questioned how approachable the music would be, some in the audience declared this was their first opera. I dare say, it worked well and the interval was an added rest for all players involved. Fokkens also conducted every soberly, keeping the ensemble in a fine symmetry.
The story itself is quite bare, our lead boy seems to just knock about the places he is meant to go, perhaps the fact this is a monodrama with no other voices proves the static. With the upmost pride, the evening mostly belongs to baritone Themba Mvula. In the many dress-up moments for his teachers, family and maybe in-laws, he embodies them with swagger and humour. Mvula’s voice is perfect in any register and he often excelled in soaring moments, even if the rowdy band might have drowned him out at times. There are some very touching moments and the bits of wit are well needed, the lists of things not to do in England was a highlight, dressing up with the buttoned up, dicky bow torso mannequin of his professor. He made the story more interesting then on face value and I was really quite taken with him. One to watch!
At it’s heart the piece was about home, race and love. The quest for all these things in a world of hate and judgment.
Last night I had the pleasure of watching the ‘Girl from the North Country’ held at the magnificent Wales Millenium Centre. The story was written and produced by Conor McPherson using the songs of Bob Dylan. It’s a double Olivier and Tony Award-winning West End Broadway ‘smash’.
For those thinking the story is about Bob Dylan, it’s not! Dylan’s songs have been reimagined, revamped, and weaved into the lives of a group of troubled souls from Duluth, Minnesota (Dylan’s hometown) a city on the shores of Lake Superior. A tale of love, family, hardship, and survival.
Set in a guesthouse in the winter of 1934 in the middle of the great depression – seven years before the great songwriter was born. It was bleak and grim and that radiated out of the performances. Hard times are a test of strength and character and also how resilient we are when all else fails and the chips are down.
Proprietor Nick Laine is down on his luck and financially struggling to keep their guesthouse from being taken over by the bank, while his wife Elizabeth has dementia and floats in and out of moments of clarity. Nick and Elizabeth’s children also have their own struggles going on – Marianne is unmarried and 5 months pregnant and Gene is going nowhere in life, jobless, his struggles are with the demon drink.
I loved the way the ‘super talented’ musicians played using 1930s instruments and were often joined by cast members throughout the production, bringing the music to life. Every song was brilliantly performed but for me, the standouts were ‘Tight Connection’, ‘Rolling Stone’, ‘I Want You,’ ‘What Can I Do for You’, ‘Jokerman’, ‘Forever Young’ and ‘Pressing On’. Dylan was awarded the Nobel Prize for his lyrics and these performances are a superb showcase, all performed with confidence and passion, they had a strong, emotional impact that made my skin tingle with delight.
Dylan’s magic comes from his lyrics, the unique delivery of those lyrics and the exciting driving force of the music was a lot stronger than Dylan’s own voice. The way Dylan’s songs have been reimagined and revamped is impressive.
This was one of the best pieces of musical theatre I’ve seen in a long time, I was so excited I felt like a dog with two tails!
Elen Benfelen / Goldilocks production images, Carri Munn (Nain / Papi Bear), Elin Gruffydd (Elen) Photo by Mark Duoet
(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.
Elen Benfelen / Goldilocks production images, Carri Munn (Nain / Papi Bear), Rhys ap Trefor (Dadi Bear / Villager), Elin Gruffydd (Elen) Photo by Mark Duoet
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 31st 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.
Credit Rhian Gregory
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.
Credit Mark Douet
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.
Credit Mark Douet
I highly recommend a visit to see this show, which is on now until it finishes at the end of December.
Martin James Bartlett, Photo credit: Paul Marc Mitchell
(3 / 5)
It would prove to be an expectedly light affair with that of the Sinfonia of London, along with maestro John Wilson who excels in all he does. He is happy to bring the lighter side of classical to many an audience and we cant blame him for it.
What surprised me most about these players was the laid back approach. It all felt like one big jolly, the percussionists during their many rest periods had faces of children back in assembly. And two players in the back of the violins are clearly loved up. Wilson would even loose his baton during the second half of the evening, all in keeping with the strange air of the night.
Walton and his Scapino makes a great concert opener and the Sinfonia clearly had a lot of time with the piece with practice. It was the timbre of the whole thing, the jolting, romp like feel for these few minutes which flew by. Very charming and we craved more. Following on was the first Ravel of the night: Valses Nobles et Sentimentales. I find his music to be the equivalent of a bath bomb, light and fizzy, though swiftly leaving you with nothing of interest other than coloured water. The pieces displays strands and sinew, evocative of impressionism of the era. This is a piece which doesn’t command attention and you can drift of in thought.
Of major appeal was Gershwin’s Rhapsody in Blue with soloist Martin James Bartlett. Playing with impish vigour, Barlett didn’t let up in it’s commanding jazz storm. It’s safe territory though back in its day, remaining groundbreaking for allowing popular music to be injected into classical. As ever the delight, this standard Gershwin delighted and we’d simply love to hear Barlett tackle his more meaty piano Concerto in F.
Upon hearing Debussy’s La Mer once again, I’ve found it to finally have appeal and intrigue. Maybe it’s the allusive nature of the score which is gradually waffling over me. Here the Sinfonia came into their own, the entire three movements inspired by the sea engulfed St David’s Hall, their shimmering, blazing delivery held up as a highlight of the night. What did annoy was the eye rolling choice of Ravel’s Boléro. The piece has reached meme level now, a joke even in his own day, met with boos and hisses. Wilson declared this to the the Welsh premier of the original version of the ballet score and not the later orchestral version.
There is little evidence of this being a premier proper and Wilson just seemed to have said this. The pieces in the it’s original guise is even more interminable, two snare drum players take turns with the tempo, a boring tennis match as we hear the same melody again and again. I’m all for minimalism but this takes the mickey. I was stunned by the amount of people stood on their feet after, though I will applause the players for a light, mostly French affair. They shall return in February with the glamour of MGM films…
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
Photo Credit: Kirsten McTernan
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
The sight of the WNO Orchestra is rare since we mostly see them in the pit of the Wales Millennium Centre. Chances to see them full throttle at St David’s Hall are always a pleasure and under the brilliant baton of music director Tomáš Hanus, this concert given the fitting moniker of ‘Czech Mates’.
Half of the programme for this concert would be smattering chunks from operas, yet a deeper divine into he orchestras repertoire were present. The Four Sea Interludes from Peter Grimes by Britten was done with subtlety and fury. It only makes you crave a full performance of Britten’s masterwork, not seen with WNO for what must be decades. There shimmering allure of the North Sea, church goers and the battering of a rampant storm all feature here, filled with nuance.
Dvořák and his Biblical Songs followed, with a pleasing turn from Jana Kurucová, a Slovakian mezzo who brought the spirit of the composer into the space. There was a hushed feeling to these setting of a selection of Psalms, ‘Thou art my hiding place’ and a setting of ‘The Lord is my shepherd’ as examples. Though I wasn’t as taken with them as I expected, I found Jana to be a rich singer who added a fine feature to this concert.
Wagner would arrive after the interval, the Prelude & Liebestod from his epic opera Tristan und Isolde. The seething erotic tension in both extracts (the start and end of an opera a good four hours in length) burst out, the orchestra poised in space in spacing and phrasing. They excel at Wagner, Wales having an extensive history with the highly problematic composer. The famous, reedy Tristan chord heard once again as it all wraps up, begins ‘modern music’ in many ways, yet brings us back to start of the prelude. Clever, as ever.
Janáček is proudly put on by Tomos every opportunity he can get, his native composer always offering wacky and inspired musical offerings that are usually a highlight on the opera stage and concert hall. His Sinfonietta, opens and closes with the soaring addition of a mass of additional brass, leading on to eccentric string writing, a declaration to the folk music of his land and a catchy rambunctious nature hard to ignore. Tomos seems to float when with Janáček and we in Cardiff always welcome its magic.
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.
In an afternoon of light delights the sibling brilliance of Agata & Wojciech Szymczewski delighted the audience at the Royal Welsh. This was very much the definition of the ‘Polish miniature’, fairly light music though not without the weight of it’s country’s history and culture.
The Legend and Kujawiak of Wieniawski is pretty famous, certainly the most familiar music on the programme. I still remain unsure about the true value of Chopin (this will land me in trouble), though hearing his Mazurka in A minor remained a pleasure. To see this brother and sister play feels like an honour, Agata on violin remains such a force the instrument seems to capture to her every whim. It is as if she was born to play the violin and every second with her proves her gusto and passion for her nation’s music. On piano, Wojciech also offers some fabulous insights, his accompaniment never wains in his intimacy with his sister. Though these pieces are very much chances to show off the violin proper, Wojciech makes a perfect companion for the journey.
New discoveries in the Polish repertoire would see work by Bacewicz and Adam Wroński, which delighted in openness and charming nature of the writing. The air is very Polish, some whispers of the country’s great folk music culture passed through. The essence of the fiddle lived in this brief concert. The Cradle Song of Szymanowski proved a much more ‘modern’ affair, the traditions still invited and present, though the drabness of it’s features might turn some off. Still, it had a beauty of its own, distilled and abstract, a piece that’s demands some effort and attention.
We’d welcome back these siblings anytime to Cardiff.
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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