Another quirky Bristol encounter saw me in the well known Thekla, a docked boat on the river which hosts gigs. The warm up act Morly was soft and subtle, gentle vocals joined with the patter of Nord keys. Lot’s of loveliness, though I craved a little variety.
The buzz for the main line up was finally to begin (after a postponed gig), was palpable. Alexandra Savior has made waves online, some die-hard fans were present as they sang along to most of her songs. Her autumnal style is warm and cheery, she seems to sing to us though also for herself. Past relationships would reach their zenith in her craft, with her song Crying All The Time a real treat which could turn heads for its blunt beauty. Her band also were razor sharp and you can feel the collaboration oozes in no doubt many gigs.
What I really wanted to hear was Howl, my gateway song for Alexandria and sadly we would not hear it this time. One feels her star is still on the rise, even with the successes already achieved. You can really feel her growing pains in these songs, a young woman coming into her own, confident and sharp. This rocking concert made for a special Friday night treat. You can see the bigger venues opening up to her. The grooving and good buzz around the whole space is a testament to her talents. Go see her on tour.
Alexandra Savior continues on tour in the UK, Europe & Turkey.
A heatwave joined for the latest excursion to Penarth for Cardiff Opera for their latest concert. Having seen their Julius Cesare by Handel, this unassuming collection of young singers and instrumentalists offering up to the Welsh capital events both popular and rare.
The Siegfried Idyll from Richard Wagner is perhaps one of the finest depictions of a forrest. It’s a much more gentle side to the arrogant and racist composer, presenting the piece to his wife Cosmina on Christmas morning. Later recycled into the opera of the same titular hero, this is gateway Wagner for people not to sure of the five hour epics which follow. It was the strings here which let down the side on a few occasions, some problems might have been with the vibrato. Though it all, the sweetness and charm of the work still shone through, conductor William Stevens with a no thrills command of the score.
In a hefty follow up, Mahler’s The Song of the Earth sees ancient Chinese poetry mixed with the composer’s angsty, Austrian existentialism in a heady brew. This is Mahler’s good bye to the world, at least for me much more then the 9th and 10th symphonies (the latter incomplete at his death). The woodwind was fairly tight here, the players reduced to a very small size for such a work got away with it, though it may not have captured that universal metal the composer demands.
Fine footed tenor Robert Felstead get some lush moments of nature and drinking, the rowdiness of the role a bolstering, unshaven thrill. For me the real joy came with soprano Rebecca Chellappah who sings the majority of this song cycle with grace, has an affirmed sense of drama and musicality. The Farewell takes up half the piece and is a devastating departure, Rebecca awash in this grand movement of the passing of time, as nature thrives. All that was missing was the celeste for the final flurry in the last few bars.
It is water, the lifeblood of all things that is the major component of Chapter’s latest exhibit. A diverse group of mostly female artists and other academics have teamed together to tell an absorbing tale of their relationship with water on both a personal and cultural level. The lands of Wales, Palestine and Morocco feature, spread out in the gallery and not cluttering any of the work.
The first room with Kandace Siobhan Walker sees a fishing net looming over us with polaroids, song lyrics and sea-scape video that welcome us with much poetry and retro charms. Noureddine Ezarraf had made fabric pieces which I’ll confess don’t ignite the senses, though do have subtle nuances, both works marbled with black lining over the soft, amber palettes.
Bint Mbareh has found her own little nook, with a live performance of Stellar Footprints in her fabric fort. As we watch seeing only her feet and bottom legs, she asked us to feel as if we had water dropping on us and around us, then requested we walk around her structure so that she could capture the sounds. Speaking to Bint after, she admitted more needed to be done to capture the energy of the audience, who fizzled out after a while, giving up on the stomping, as if we were wading through water. She invited us beforehand for a select few of us to join her in the fort towards the end, some did though the piece appeared to be over. With a bit more rehearsal this could be quite tight, Bint’s vocals singing through especially exquisite towards the end.
Fern Thomas’ work sees wordy verses spread out all over the wall, as a rock on rope gently sways in our line of sight. A rich spiritual heritage fills the words and a universal mood comes across in these words of love and respect for water. The final room filled with the pieces by Alia Mossallam and Maya Al Khaldi had headphones with folk singing mothers looping and a little study area with desks and carpets (we are encouraged to add to the embroidery, with staff offering needles). I found this room quite absorbing, letters from the British government in Egypt allude to corruption and racism, the carpet spreading up to the wall a really nice touch as well. Veils also hang from the ceiling a slight flutter to the end of a exhibit with history and culture as it core.
Calls the Waves continues at Chapter Arts Centre till 20th November 2022 along with further workshops, talks and further performances.
Every summer, we would mostly be graced by our very own Youth Orchestra on tour. Wales should be proud that we in fact have the oldest youth orchestra in the worlds having been founded back in 1945. Conductor Kwamé Ryan from Trinidad and Tobago, leads all with a spirited energy and his commitment to the future of music lives in moments like these. Though quite formal in his maestro, he wrings out of these students a fine musicality.
Argentum by Dani Howard held up as a good choice of a concert opener. Quite happy and had the feel of a giddy, John Adams sort of mood. Her take on celebrations would mark the work with a dedication for the marriage of some close friends. She speaks of pride and happiness in a union of this manner and you could hear this at the Last Night of the Proms, such is its appeal.
In the Violin Concerto of Korngold, Jennifer Pike shone, the gleam of a Hollywood veneer never far away. The composer had the privilege to be able to recycle film scores he had already written after fleeing Austria and making it to California. Pike soaks up the loving atmosphere of the three movements, the finale clearly from Robin Hood as it rolls along with a rompy air. Pike made the piece appear as child’s play, though I’m sure it has it’s technical moments of bravado. We don’t tend to hear enough Korngold, the delight of an encore was another work: the finale of his score to Captain Blood with Errol Flynn, a pirate party if ever there was one.
Whilst Russian music might not be a frequent hitter at this present time, the Youth Orchestra gave a decent take of Rimsky-Korsakov’s Scheherazade. Each night the title character regales her husband the Sultan with tales in an effort to save her life, as he longs for more conquets. The sumptuous violin motive (with harp) pin points Scheherazade as safe, each of the movements the stories she tells. Leader Esme Lewis fared well in this central role, along with her efforts throughout the programme. There are wild moments of the sea storms, princesses and even a festival in Bagdad, all taken from the Arabian Nights collection of stories. It’s the vividness of the orchestration and clever melodies that have made this work a crowd-pleaser for over one hundred years. It may be fairly overdone by today’s standard, but it does give this youth orchestra a piece to cut their teeth with.
Granted, I was able to detect the odd fluff in the brass and woodwind. All things which can be ironed out with further practice and commitment. Fine work from all involved!
Anyone who knows me will declare my love of American film director David Lynch. The dark, eyebrow raising, nightmare vision that is his canon leaves most perplexed and others reeling. I’m usually in the later category.
For one reason or another his late 90’s classic Lost Highway has alluded me for years. The Watershed in Bristol had the great fortune of getting the 4K remastering of the film, a UK premiere. I’ll confess the film looked blazing on the screen. The exquisite close ups of mouths, eyes along with some truly vivid sexual scenes. Now known as the first flutter in Lynch’s L. A. Trilogy, the superior (in my opinion) Mulholland Drive followed by the even denser Inland Empire.
A post-mortem on the film requires time and patience. The first third of the runtime, is the definition of total paranoia, the use of VHS is of it’s era and a clever component of the horror aspect the film swerves in and out of. Bill Pullman plays Fred Madison, a free-form jazz saxophonist who suffers with headaches and an intense anxiety seen little of in cinema. His wife, Renne played by a stoic Patricia Arquette add a deeper mood to the film, seen later as the sensual Alice Wakefield in one of the films most head scratching phases. In a strange transformation scene, Fred whilst in prison for the murder of his wife, appears to morph into Pete Dayton, played by a chipper, subtle Balthazar Getty.
It is the performances of Pullman, Arquette and Getty which command the film, most of the intrigue coming from what on earth happens to these characters. One wonders if doppelgängers and tulpas might be involved, a theme in Lynch’s work for decades. You can easily see the influence of Greek myth, Buddhism and American folk heroes smeared all over the film and it works to the best it’s ability. Co-written with Barry Gifford, Lynch’s usual tricks are never far away, the smoke, fire, booze and rock music, the trappings of this movie master forever enthral. What exactly occurs in the film is up for debate, though appears to have clearer abstraction then later work.
As always with Lynch the humour is flies through and this Bristol audience got some good laughs throughout this absurd, beautiful film. Some idol police detectives inject some well needed laugh earlier on, as the realisation of a home invasion is established. Some more surreal supporting cast choices include Richard Pryor, Mink Stole, Gary Busey and Henry Rollins. Also of note is Jack Nance as Phil, in his last feature role, a Lynch veteran who wowed and delighted audiences for years, only to die in a bizarre attack in a donut shop.
Robert Loggia intimidates as both Mr Eddy and Dick Laurent, with neither character you’d want to cross, as proven by the hilarious car chase scene where he pistol whips a driver who cuts him off, whilst lecturing him about the highway code. Nothing remains more spooky in the film as The Mystery Man played by the pure terror of Robert Blake. I found I had chills in his scene with Pullman, the now famous “At your house” line is later heard in Twin Peaks: The Return, in keeping with the cyclic condition of Lynch.
Some of the musical choices may date the film slightly, though most are inspired: the likes of David Bowie with Brian Eno, Rammstein, the now cancelled Marilyn Manson and Nine Inch Nails are highlights. Angelo Badalamenti’s score is evocative as ever, the perfect companion to most of Lynch’s warped presentations. Not his most brilliant music, but some nice moments by any standard.
Lost Highway remains troubling, funny, transient and thought provoking.
OCD, or Obsessive Compulsive Disorder is close to me and the people in my life. Recent theatre I’ve seen and my own work/fundraisers remain in the back of my head. How can we portray this ghastly condition on the stage. Can we truly make people care?
Along comes StammerMouth with an expectedly profound piece, about OCD and those around the people who experience it. Directed by Nerida Bradley with a sharp eye for detail, CHOO CHOO has the snazzy, primary coloured vibe of a 70s children’s programme. Yet, a helping of Don’t Hug Me, I’m Scared and WandaVision peeps through with an angular distortion as the story stagnates. The feelings of isolation and worsening mental states are never far away in an ever increasing bout of anxiety. Both characters of Nye and Duncan have a strong, brotherly bond, leading to some later touching bits. You can only assume they spent lockdown together and this was the catalyst for the entire show.
Nye Russel Thompson (who also wrote the work) has poured his heart out here, the debilitating nature of the disorder constantly compromising his way of life. It’s clear that the condition can convince you making yourself think you’re capable of awful things. A radio set seen on a table spouts bile about a knife next to it and other horrible ideas that are naturally never acted upon. The efforts of fellow performer Duncan Hallis adds a soulful energy to the show, sincere in more sympathetic scenes. Both actors bounce off each other very skilfully, the humour is often solid. Some surreal moments, with dark comebacks remain as highlights.
Much love needs to be sent to Julie Doyle, the BSL interpreter for the evening. Though she was a slight part in the actual drama, she could have been utilised even more, her loitering of downstage right apparent throughout. Some sweet moments came when people in the audience before the show would sign with her, with some bouts of laughter. The set as well is simple and effective, white blocks which change colour work very well in the space. The opening song, heard throughout is such a catchy tune, I’ve yet to get it out of my head (speaking of which, the Kylie scene in a manic ). The song itself is a roll call for both guys, Nye’s slipping out of tune and rhythm due to the descent of his intrusive thoughts.
It’s super to see more theatre being made about mental health, especially after the life altering pandemic, something were not fully out of. I said in another recent review about OCD that “work like this could save lives”. This remains the case with this most recent piece from StammerMouth.
CHOO CHOO! You are not your thoughts continues at Chapter Arts Centre till 23rd July 2022.
It was touch and go for the return of the Welsh Proms if maestro Owain Arwel Hughes would conduct after a Covid scare. Owain’s loyalty to the Welsh side of the Proms is extensive and helped bring in large, attentive audiences.
A Prom from the Kenneh-Mason brood would bring some new blood to the festival in fine music making form. I’ve seen a few of them here and there in more intimate recitals, yet here the siblings played together and then duet after duet would form. Little doubt being the most musical family in these lands, the talent on display is but hereditary brilliance. The combined forces of Isata, Braimah, Sheku, Konya, Jeneba, Aminata and Mariatu graced the stage and all proved to be no gimmick.
A broad programme of bite sized work (some miniatures some extracts of larger pieces) loomed heavy over the night but the long list was gracefully ticked off as each brother and sister had their time to shine. My views on Eric Whitacre are very mixed and the opening of his Seal Lullaby was pretty and gave everyone some moments of harmony. The work of Coleridge-Taylor is newer to me (a diverse composer with work still being discovered decades after completion) and has blues charm and a gusto all of its own. Schubert on the piano was a highlight the quirky scales and stunning timbres of the composer always stood out and left me wanting more. Chopin I’ll take or leave, but still played very well indeed. The youngest sister doing Frank Bridge was impressive even with some understood nervous energy.
A showy take on Liszt’s famous Hungarian Rhapsody No 2 is bonkers, made famous by Tom and Jerry and the real crowd pleaser of the night. Sheku got to pick a more quirky piece for his cello and that of Shostakovich’s Sonata for Cello and Piano (Allegro). His take on Welsh hymns also are met with acclaim, the family having proud Welsh roots. They came into their own in the marvellous riffing on a medley of songs from Fiddler on the Roof. These classics are played with joy and are inflected with some marvellous colours thanks to the combination of duo piano and strings. Even a surreal encore of Bob Marley only added to the pot of an evening that wont be forgotten in a bit. Come back when you can!
Welsh Proms continues at St David’s Hall till 16 July 2022.
Sheku Kanneh-Mason’s new album Song is released 9 September 2022.
The outstanding Lion King musical has returned to Cardiff this summer. The Serengeti of Africa was transported to the Wales Millennium Centre. It brings warmth, light and darkness, with an emotive contemplative story line, and fantastic rhythms and lyrics.
The Walt Disney animations studio created The Lion King feature film back in 1994. The Lion King musical, which is based on the original animated film, made its first debut in 1997, in the state of Minnesota in the United States of America. In 1999, it was opened in the U.K. at Lyceum Theatre, and has been running ever since.
The story follows Simba’s journey from a cub to an adult lion, becoming the King Lion. Simba is the son of Mufasa and Sarabi, and his jealous uncle Scar kills his brother Mufasa, blaming Simba, and as a scared grieving cub he is forced to run away. Timon (Meerkat) and Pumbaa (Warthog) come across Simba, and they grow up together. The Pride Land in the mean time, is suffering under Scar and the hyenas reign. Nala, who was Simba’s best friend as a young cub, is now grown up, and while out hunting she is reunited with Simba. Simba’s confusion on whether to go back is helped by a spiritual meeting his dad Mufasa. Simba returns, the truth is out who really killed Mufasa, Scar falls to his death, and now Simba is the rightful descendant King of the Serengeti pride land.
The classic songs “ Hakuna Matata”, “Can you Feel the Love Tonight?” and “Circle of Life” by Elton John and Tim Rice feature in the musical.
There are a few song additions that don’t feature in film version, such as “Grasslands Chant” and “One by One”.
In the musical Rafiki, who has a narrative role, is played by a female. It was decided this as production felt it needed another stronger leading female role.
The hyenas, although dark and scary, have a comedic side to them alongside Scar, and of course not forgetting the jokes from Timon and Pumbaa, and Zazu (Hornbill).
The cast ensemble play absolutely incredible roles, from different animals, to dancing grass features. The super creative costumes, alongside the fantastic choreography, bring the auditorium to life. Performing not just on the stage, but in with the audience too. This gives such an immersive interactive experience.
My children who came along with me, age 11, 9 and 4, had their mouths wide open in awe of them, and couldn’t stop smiling. It really adds to the experience, and I got this warm magical feeling inside. We loved how the percussionists were positioned in the side boxes of the audience.
One thing I did notice with the performance I watched, I felt the volume needed to be increased as I felt it had reduced sound. I did question whether it was a relaxed performance because of this, but it wasn’t.
The first act seemed to be significantly longer than the second act. My children did start to fidget slightly towards the end of the first act and ask when they could get a drink and use to the toilet.
On a personal note, The Lion King musical has always had a play in my heart and in my top 10 musicals of all time! I enjoy the storyline along with African musical rhythms, inventive vibrant costumes and artistic set design.
The Lion King was also the first ever live musical theatre performance my son at age 3 watched in Cardiff back in 2014. He has been hooked on musical theatre ever since, and has a CD collection of soundtracks from the musicals he has seen since.
The Lion King musical in Cardiff Wales Millennium Centre 2014, my son Cody at age 3.
It’s certainly a musical for all the family. Guidance is from 6 years plus, and no under 3’s. It was approximately 2 hours 30 minutes long with a 15 minute interval.
It has to be said the whole cast and crew are incredibly talented.
Hi Francesca, great to meet you, can you tell us about yourself and your work?
Hi! I’m a female, working class director- born and bred in Swansea, then went to drama school in Liverpool, where I now live. After graduating back in 2014 I had a short stint of performing but I quickly realised how much I enjoy carving out the stories I want to tell. The fantastic Kate Wasserberg offered some assistant director experience as the trainee director at The Other Room Theatre in Cardiff. It’s through her that I met one of the most influential people over my career, Tamara Harvey and started my wonderful relationship with Theatr Clwyd where I went on to be one of the first recipients of the Carne Trust Traineeship for Directors in Wales.
Kate WasserbergTamara Harvey
The work I make is influenced a lot by music. Since a child I’ve loved singing and dancing, and I find music is at the core of a lot of my productions. I’m drawn to real stories, real people and the extraordinary moments in everyday life.
You have just directed a new play A Pretty Sh*tty Love, what role does music play in this production?
Before I even knew what the script would be, I had a composer on board. I love working with Alexandra Faye Braithwaite I think she’s extraordinary and her work is so intricate and emotive.
We knew that the piece would be heavily underscored and that music would be its own character. It’s a real story about a real woman who was buried alive in Swansea by her abusive husband. It’s a two hander but heavily told by the main character, Hayley, who draws back on memories. Music is a way to evoke memories for all of us and, in this production especially, it’s the thing that helps lead her through her story. I feel like I won the theatre lottery by having Katherine Chandler write the script, because her writing is so musical anyway so it’s really beautiful to underscore. Kath writes real people better than anyone I know and I think it’ll be a really special, important story to tell.
A Pretty Sh*tty Love plays at Theatr Clwyd from Fri 8 – Sat 23 July and Chapter Arts, Cardiff Wed 27 – Fri 29 July.
The performance at Chapter on Wednesday 27 July has a post show Q&A with Francesca and Writer Katherine Chandler.
There is BSL Interpretation by Sami Dunn on Friday 29 July
https://vimeo.com/715987525/730519afc6
This chat is specifically about music and the role it has played in your personal and professional life. To get is started what are you currently listening to?
I had serious FOMO not being at Glastonbury this year. I love live music and so I watched all of the highlights on TV. So, I think that’s influenced a lot of my current playlists. Currently, it’s Holly Humberstone, Maisy Peters and Haim. I always have Haim on repeat – I think they’re just amazing. Weirdly, I saw them in a tiny gig in Philadelphia back in 2012 when no one knew who they were and the drummer played one song on the kit with her heels. I knew I loved them then.
https://youtu.be/jEChsA4W5Wg
We are interviewing a range of people about their own musical inspiration; can you list five records/albums which have a personal resonance to you and why?
1.Tina Turner- Proud Mary.
This takes me back to uni, student nights out and moving to Liverpool.
https://youtu.be/HOcY4nHd9gM
2.Badfinger –No Dice (album)
I’m currently developing a new Badfinger actor muso piece with my good friend and creative partner Daniel Lloyd, written by Swansea playwright Tracy Harris. I think this album is extraordinary; the talent of these boys is just unreal.
https://youtu.be/OtrmhHqFqwE
3.Meatloaf- Bat Out of Hell
I put this album on whenever I need a big pick me up, or long car journeys when I need a good sing-a-long. I love how theatrical it is and how every sing is a full production. Growing up I listened to a lot of musical theatre as I wasn’t that interested in new music (the exception being The Spice Girls obvs).
https://youtu.be/BsQHVWBeTUU
4. Jamie T – Panic Prevention (album)
It was SO hard to choose just one of Jamie T’s albums. He’s always been one of my favourites and I think the person I’ve seen live the most. Me and my best mate Louise were just obsessed. We’d get in from a night out in Swansea and wake up the next morning with tickets to his gig, having no recollection of buying them. We’d know every song word for word and sing it as loud as we could in the car!
https://youtu.be/_vtmMo8n4ao
5.Phil Collins/Genesis
This is such a cheat, I’m sorry! But I really couldn’t pick one album or song. My parents would play Phil Collins constantly growing up and they still do! I love listening to him, it reminds me of home and makes me think of my mum and dad. The three of us recently went to his final Genesis concert in Liverpool and I remember thinking, I’m going to remember this moment forever. It was really special.
https://youtu.be/TLVbogL3NLw
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
Without You – Badfinger. (From the No Dice album)
The story of this band has stayed with me so much over the last year or 2 whilst working on the show. Just a couple of boys from Swansea, with so much talent who just wanted to make music, and they had such a sad end. The story is heart-breaking. People think this song was written by Harry Nisson, or maybe younger people might think of Mariah Carey, but actually it was a lad from Townhill, Swansea- Pete Ham. He wrote it with bandmember and scouser Tom Evans. So being from Swansea, living in Liverpool, it feels particularly special.
https://youtu.be/PPco24LS31A
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
(4 / 5) Alexandra Savior
(3 / 5) Morly
