We lost Peter Maxwell Davies a few years ago and his legacy is being greatly considered. Whilst most might shy away from the blunt nature of his music, there is an always theatrical skill to it and he truly remained one of a kind.
Prior to Max’s masterpiece, the Mad Song Ensemble presented contemporary music of an impressive degree. Anna Semple and her Pinter inspired After Torcello starts as a counting game for the players, leading to wispy playing. Strings of the violin and cello are massaged not stressed, the keys of the flute dampened with no breath. The end also remained curious, the conductor leaves the stage, as the musicians pull poses as if to play on. To start, this was an evocative opening and had a real moody feel to it.
Within Richard Causton and Phoenix, the main point of reference is very clearly Messiaen and his Quartet for the End of Time. Inspired by the mythical bird, there is an energy and valour within, though the piece might slightly over stay its welcome. Blue-Green Hill from stalwart Judith Weir seems to have been forgotten about after an overture was hastily needed in a tour of India. Scottish folk melodies are the major factor and the work is the middle ground between dance work and dense, some uncanny doubts lingering in it’s undercurrent. There is an ending of plummy British feel, a vibrant cleansing of the palate.
For the big gun’s Maxwell Davies Eight Songs for a Mad King finally was heard after cancellations. There are no prisoners for this 30 minutes assault, detailing the madness of King George III. We hear quotes from his real life, though we can’t always make out the excellent libretto of Randolph Stow. How the king shrieks, grunts, babbles and blathers. This is purely because of the shattering of the words into pure letters and syllables. The king tries to teach birds to sing and other curiosities. Also, note worthy is the sheet music, with one page a birdcage creation, a symbol of the mental health struggles on stage and the birds in the sound world.
Truly a great work about going into the psyche, you need a committed performer to take it on. Benedict Nelson shines in this ludicrous role, arriving on stage with a shirt barely buttoned and socks tucked into his sweat pants. At one point he appears to inhale a tin of fish like a jackal puppy and a paper crown is adorned upon his head for a brief few bars at the starting line. Being in the front row might have been a mistake as you feel being too near a tiger in its cage. A violin is furiously smashed at one point, a metaphor for one of the king’s birds he is teaching to sing.
The players also shines in an incredibly demanding piece, the fitting harpsichord and flurry of random percussion are just some highlights. We of course expected there to be bird whistles and the like, though it is the brief blast of a didgeridoo that proves the work’s hippy period execution. Maestro Joshua Ballance is a young, bright keeper of proceedings and all through the evening he proved a love of experimental music.
Directed by Moss and Armitage ;
Set designed by Bailey ;
Costumes designed by Slade ;
Lighting designed by Deiling ;
at the Malvern Theatres ;
UK tour ;
2021, Marlowe Theatre
Credit: Johan Persson
The age-old nursery rhyme, right? History buff or not, most of us know it, have recited it, skipped and handclapped to it, used it to our advantage in a pub quiz…
But how often do we stop to think that these six words that have been periodically used to sum up the legacy and lives of six remarkable women in history? Six individuals flippantly reduced to six words. Words that ultimately reduce these women to the impact their husband had on them.
Henry VIII and his Six Wives have dominated the school curriculum for decades; a period romanticised by Hollywood, become an inspiration for artists, playwrights, authors… but how much do we really know about the women behind the marriages? The women behind the tyrant.
Time for history to be overthrown, thanks to the feminist fuelled ensemble that is SIX.
Prepare to feel empowered, uplifted, and hit by a wave of strength as these powerful Queens finally get their chance to sing their truths and become named, REAL women – not just one word in a stupid rhyme.
SIX perfects the unbelievably difficult task of towing the line between light-hearted, historical romp, while highlighting the major injustices and abuse faced by women in the Tudor Court. What’s more, the show ingeniously shows the hurdles faced by these women through a modern lens – everything from unachievable beauty standards, harassment, gaslighting and predatory behaviour that could easily paint Henry VIII as the Harvey Weinstein of his day. We quickly come to realise modern day women are still fighting the patriarchy in similar ways to that of our sisters 500 years ago.
But this isn’t a show to get you down!
Enough of Henry and his penchant for wedding (and beheading) – SIX shines a literal spotlight on each Queen, allowing the audience to learn more about their individual trials, tribulations and achievements over and above simply being wife. Their stories come to life through a range of girl power-fuelled song and dance numbers that give off a gig-like atmosphere as opposed to that of a traditional musical. The live band on stage, fabulously called The Ladies in Waiting, bring so much vibrance and energy to the show, making it almost impossible to stay still in your seat.
A gloriously diverse and talented cast bring the insanely catchy and clever score to life, with their real strength found when they come together to sing as the ultimate Tudor girl band! You’ll spend long periods of the show taking in the unbelievable detailing of each Queen’s costume, which mix Tudor embellishments with modern day sass – each one is completely different to the other, giving the Queens individual styles and silhouettes on stage. There is lots of funny and heartfelt moments too – the energy is infectious, and it is so obvious the cast are having the time of their lives on stage, which radiates into the audience. Feel good vibes all round!
No longer Divorced, Beheaded Died. Divorced, Beheaded, Survived. They are Catherine of Aragon, Anne Boleyn, Anne of Cleves, Jane Seymour, Katherine Howard, and Catherine Parr: inspirational women in their own right and so much more than who they married.
Too many years lost in history, these six remarkable Queens are finally free to take their crowning glory, so do your royal duty and spend the evening at the most inspiring royal court in HERstory!
SIX is LIVE at the Wales Millennium Centre until 14th of May
Many may associate the cult-classic Little Shop of Horrors with its 1986 film adaptation starring Rick Moranis, Ellen Greene, and Steve Martin to name but a few (even Bill Murray makes a guest appearance!) The film was based on the 1982 off-Broadway musical of the same name and was well received by critics and audiences alike. Of course, most forget the original film which started it all. The Little Shop of Horrors (1960) written by Charles B. Griffith and directed by Roger Corman is a horror movie and farce about an inadequate florist’s assistant who cultivates a plant which feeds on human blood!
Fast forward fifty plus years and the musical is still going strong, attracting audiences across the globe. This time it was the turn of Kent Academy of Musical Theatre (KAMT). Founded by Jo Mason in 2020, KAMT is a part-time musical theatre academy for all ages, from toddlers right up to adults of any age! They currently run classes in Maidstone and Cranbrook with ambitions to branch out across the county. Considering the academy was founded during a worldwide pandemic, it has gone from strength to strength during its first two years, Little Shop of Horrors being the first production presented by the academy’s adults. Founder and director Jo Mason had been inspired by professional performances of the show in London, most recently Regent’s Park’s contemporary adaptation.
Often, it is more of a challenge to put on a production with a group of adults than with a group of children. Adults take part in amateur theatre as a hobby, something they’re passionate about and want to continue improving at, but something which comes alongside potential parenting, full time jobs and just ‘life’ in general, so it’s always a thrill to see a group of adults who are clearly dedicated to their craft and who have worked so hard to pull a piece of theatre together. It is almost unfair to label this production ‘amateur.’ Although the definition is actually ‘someone who engages in a pursuit on an unpaid basis,’ it has come to mean that an individual is incompetent at something. For example, you might say Little Shop of Horrors’ hero Seymour is an ‘amateur florist’! But this production certainly pushed amateur boundaries.
It is great to see an almost full auditorium at the Glassbox Theatre. It is more important now than ever that audiences support local theatre and it is clear that this audience got more than they bargained for, hearing some wonderful comments and fabulous feedback from the crowd in the interval and beyond. It is clear from the get-go, as the piece opens with the well known ‘Little Shop of Horrors’ title song, that the Urchins, the Greek chorus if you will, are extremely strong vocally. Not missing a note, the harmonies work beautifully, and each Urchin performs their ‘sassy’ role to a tee with plenty of attitude! It is clear not all Urchins are completely comfortable with some of the choreography, but this is made up for in style and voice! The Urchins are certainly at their strongest when ‘setting the scene’ vocally, whether it be as a group or scattered around the stage to portray a time or place.
The set is really striking and the scene changes slick with simple but effective changes as the production progresses…a light on here, a dentist’s chair there and of course, the most obvious change being the ever growing, man-eating plant! All puppets are visually outstanding and the shock and laughter from the audience as the plant chomps its first victim is worth the wait! The costumes have been modernised, with the Urchins in khaki green and black, the dentist in ripped jeans and tattoo sleeves and Audrey has a look of Sandra Dee circa 2022!
There are a few directorial choices which really hit the nail on the head in this production. The first happens during ‘Somewhere That’s Green,’ beautifully sung by Laura Shannon as Audrey. As she continues into the song, we see her don an apron, as if travelling into her own daydream, particularly poignant as she undoes her cast from an arm broken by her nasty dentist boyfriend, Orin. A piece of artificial grass is then rolled out in front of her, unintentionally I think, causing a few giggles, but we are transported with her, into her ideal future. Another ‘different’ take on a musical number is spotted during ‘Suddenly Seymour,’ usually put across as a simple, lovey-dovey song. Instead, although still romantic in parts, we see Audrey and Seymour clearly getting a little hot under the collar as he pulls her blouse from off her shoulder and pins her (gently!) against the wall! Although not expected, we see the sexual tension between the two and it somehow works despite being placed in the middle of a romantic duet! Most productions have their plant’s voice offstage, so it was a surprise to see the plant ‘brought to life’ as a female diva, entering through the door of the florists and interacting with Seymour! This worked effectively and made the plant seem somehow even more eerie and domineering, no longer just a plant but something even more ‘alive’ and capable!
This production was extremely well cast and, aside from a few sound issues, it could not be faulted. We were in great hands with Laura Shannon (Audrey), Ivan Collis (Seymour) and Paul McLaren (Mushnik) from the outset with Ivan Collis putting on an outstanding performance as Seymour, a very consistent performer with great comedy timing and a strong voice to boot. All other roles, ensemble and dancers were incredibly strong and certainly weren’t missed in the action.
This was a fantastic production which thoroughly deserved the standing ovation it received and I’m already looking forward to KAMT’s next production, Calendar Girls, which will be performed on Saturday February 11th, 2023, at the Glassbox Theatre.
Fore more information about KAMT and how to get involved please head to https://www.kamt.co.uk/ or find them on Facebook (just search for Kent Academy of Musical Theatre).
Glassbox Theatre, Gillingham Saturday April 9th, 2022 Book & Lyrics: Howard Ashman Music: Alan Menken Director & Producer: Jo Mason Vocal Coach: Fiona Lussier-Foy Choreographer/Dancer: Millie Judd Costumes: Jo Mason Props: Jo Mason Light & Sound Technician: Jack Gschaider Set: Set for the Show Stage Manager: Nick Bower Stage Crew: Emma Sawyer, Darren Coleman Cast Includes: Laura Shannon, Ivan Collis, Paul McLaren, Will Coote, Jenny Soto-Briley, Emma Sackett, Natalie Kitts, Maddie Lambley, Molly Dobson, Georgia Page, Suzanna Byles, Lindsey Simpson, Grace Couch, Eden Moody, Emma Bond
Choreographed by Jack Philp, OPTO NANO is a unique collaboration of dance, digital art and electronic music inspired by academic Professor Paola Borri’s research in biophysics. In the most recent version, adapted and performed within CULTVR LAB’s dome, we were guided through the journey that brought OPTO NANO to fruition through documentary style footage projected onto the dome’s interior.
Contrary to what one might expect from a dance piece inspired by science, Philp’s choreography isn’t clinical or soulless, it flows continuously in endless spirals and looks ‘at home’ within the dancers’ bodies, all of which are gifted movers. The choreography is particularly impactful through the lens of a moving camera and is complemented beautifully by the digital projections which follow, created by visual artists Uncharted Limbo Collective.
As enthralling as the show was so far, I couldn’t help but quietly hope for some live dance, so when Gaia Cicolani purposefully strode out into the space and treated us to some dancing, I was particularly pleased. It’s no wonder she is something of a muse to Philp; Gaia, a virtuosic and engaging dancer, performed Philp’s choreography with conviction and ease whilst also maintaining a degree of playfulness by occasionally making eye contact with us or by pulling our focus towards the hypnotic projections overhead. She lunged and spun in circular sequences, interrupted occasionally by delicate repetitive hand gestures and rippling body movements, hinting at vulnerability and introspection.
The live dance worked excellently in the round but was sometimes lacking a clear relationship to the digital art within the dome, not necessarily conceptually but more by design as it’s physically difficult to enjoy taking in both simultaneously having to choose one over the other in any given moment. However, the ominous electronic sound score by Welsh composer, R.SEILIOG was the glue between both dance and digital elements. Feeling the vibration of the beat pulsating through our bodies as we reclined to admire these elements dancing with one another was a mesmeric and unifying experience I shan’t forget.
When seeing the Royal Philharmonic there is always a mood in the air. Most certainly one of the finest orchestra’s on earth, any visitation to Cardiff is always welcome.
There was no collar-pulling with the presence of Vasily Petrenko, who has right denounced titles in Russian roles he has held. What is their loss, is the rest of the peaceful world’s gain, with a hawk eyed conductor with some showy gesturing and buzzing physicality. Walton’s Johannesburg Festival Overture is a new discovery for me, this brief starter for the 70th anniversary of the namesake city’s formation. It’s a romp, with strident dance motifs and a seething celebratory nature. Note worthy is the percussion including maracas and claves, adding to the sun kissed vibe. I would say I’d be down to hear that live again.
Another Russian exile would be Boris Giltburg, who on piano passed us by with Beethoven’s Fifth Piano Concerto. Known as the Emperor, this has many recognisable themes, the soloist having more subtle phases than the clamour the composer is usually known for. Boris grinds the piano, dizzying in his warm, rampant strides. Where the piece goes wrong is with a lot of time spent with the orchestra and not the piano, perhaps the biggest flaw of the piece. You do get those earthy, manic moments from Ludvig and they are forever embedded into classical music. Boris blessed us with a Rachmaninov prelude as an encore. It is easy to fall for Boris in moments such as these.
Vaughn Williams’ Second Symphony would end proceedings. Given the nickname “London” it’s easy to think of your own time spent in The Big Fog. The sweeping, large work is a love letter to the city, even with the fatigue one can feel from the place. The love-hate relationship feel is here, moments of jovial carnivals can be jarring and overblown. Vaughn Williams’ mastery over the English idyll still features here, some green spaces traversed sparingly. The fabric of the music might conjure up a soundtrack feel, images not always defined by a location. A harp clearly mimics the bells of a clock (perhaps Big Ben), though it does not complete the melody associated with the time and ends at what would state quarter to the hour. Contemporaries such as Holst and Walton offer shared harmonies and chords, the piece not always sounding as English as the composer if often accredited with. Quite charming.
One Another. It’s a phrase we need right now. It’s a phrase used quite cleverly for National Dance Company of Wales’ latest show of trio dance pieces.
Wild Thoughts by Andrea Costanzo Martini began with a repeated phase for most of the dancers. A drone note loitered the space, as their daring physicality mimic the same poses started as a daring opening. Leading into a pumped up take on Head, Shoulders, Knees and Toes, the ensemble gave us an education of their bodies, in lighting speed including slapping, gurgling and shouting. It was the energy that came of each dancer that really stood out here, some humour as well also relaxed this Cardiff audience. It put a smile on my face and made me glad to finally be back at the Sherman.
A brief respite would herald the next piece: Codi by Anthony Matsena. On a much more series tone, we wallowed in the total misery that is the mining profession. Whilst Wales is famous for local pits, the universal theme rings true of manipulating the working man and the pillaging of natural resources. If slightly too long, the dance does have some raw moments filled with fury and an unflinching desperation. Dancers are clad in orange jumpsuits, the stage is darkly lit evoking the atmosphere, though more claustrophobia could have been evoked. The lamps on their helmets could have been used for even more of a nice touch. The somber mood was jarring in the three works, though there is a spark here…
From Caroline Finn came Ludo. Quite possibly the finest thing on the stage this night, an apparition of Kafka and Ingmar Bergman. Finn’s usually expressionistic and witty moves are never far away. Benches, a detachable table and a gramophone horn used to great comic effect make up the stage in an often dizzying display. The dancers really come into their own, facial expressions also being of the utmost importance in this fun filled, child like spectacle. The choice of musical selections also remand powerful including Schumann and Meredith Monk.
Truly a charming evening, I’m glad to see our National Dance Company out and about once more.
As Theatres look to reconnect with audiences again, National Dance Company Wales/Cwmni Dawns Cenedlaethol Cymru is back with an uplifting, energising and thought-provoking programme designed to awaken our senses and fire our imaginations.
First up is Wild Thoughts by Andra Costanzo Martini, an entertaining piece designed to focus our attention on various parts of the body. The first few dancers open with identical moves, centred upon one downturned and one upturned hand (The Welsh title of this collection of works, Law yn Llaw, translates as Hand in Hand). Dancers appear to be grouped into balletic, athletic and playful typecasts. But soon the individuality dissipates, the music builds and there is a glorious band of dancers showcasing their bodily strength as one collective unit. The second half of the work is designed to provoke and amuse, with intense focus on each body part (together with sound effects – how did that achieve that rumbling stomach?).
The second piece is Codi (translates as Rising) by Anthony Matsena. The work centres around a fictional Welsh coalpit, skilfully lit with helmet lamps and infra-red lighting. Fiery orange overalls strengthen the feelings of heat and oppression. The piece feels well researched, illustrating the toil, disputes, fear, camaraderie and tragedy associated with the industry throughout Welsh history. The final section has the dancers performing as one, highlighting strength in unity and ending the piece with a sense of positivity and optimism.
The final piece is Ludo by Caroline Finn. It’s well documented that adults forget how to play, and that we would all benefit from harnessing the inner child in us. Here’s our opportunity. We sat back and revelled in the silliness of game-playing, teasing, dressing up, spinning around on benches with castors (which looked great fun). In fact there’s so much going on at once that it’s difficult to know where to look. Clothing is used to great effect in this piece, bright, stretchy one-pieces pulled in all directions and worn in crazy ways. A nod to whoever selected the music: a fantastic choice which complemented each section perfectly. I particularly enjoyed the build-up of Schubert’s Piano Trio No 2 second movement, Andante. A fabulously playful piece and just right to end this trio of works on a happy and uplifting note.
It was the Ellen Kent production of Madam Butterfly in 2020, that Cardiff would not be seeing. In a usual return, Tosca and Carmen would be back in the Welsh capital. I’ve seen Kent’s collaborative productions before, working extensively in eastern Europe, this recent venture a timely journey through the UK and Ireland with the Ukrainian National Opera of Kyiv.
Kent has truly done amazing work to introduce new audiences to opera since the early 90s. I’ll confess some of the marketing promises animals and water features, only to be present at a select venues. Though billed in the poster, we would not see any Royal Greyhounds in Cardiff, though there presence fleeting and a bit showy any. Maybe the appeal comes from seeing more traditional opera productions, most directors today awash in fanciful experimentation and warping of setting and costume.
This staging in St David’s Hall does not really impress. Some doors appear unpainted and undecorated, not ready for showing. Other gates should stay closed only to open again, breaking the mood of the final act prison scene. Tosca in one moment touched a pillar only for it to buckle again the wall. I’m thinking about the durability of these sets and probs knocking about the entire British Isles, though I feel a bit more work is needed. Stage hands arrive in tracksuits to hurl the furniture about, this ramshackle feel is never far away.
Having said this, the singing was just fine. Our Tosca is Elena Dee well armoured in the demanding prima donna role. Her famous aria is delivered with emotion and a well versed knowledge of Puccini’s vision. She shines well with the decent looking costumes, she parades through in the three acts. Her lover, Cavaradossi is here from Vitalii Liskovetskyi, another great venture. He is perfect for the role, a sweeping vocal line and tenderness are never far away. The villain Scarpia is Vladimir Dragos, who embodies the role with terror, a sexual predator who always gets what he wants. His downfall is always satisfying, mock booing is fair game at the curtain as Dragos comes out laughing. I remained unsure about the voice of Eugeniu Ganea as the escaped prisoner Angelotti, though this is a small role.
The subtitles above the stage could not always keep up with the drama. Conductor Nicolae Dohotaru held the tension throughout, though the orchestra may have had a little slip up here and there. For such a small orchestra they made a lot of noise and worked hard in the pit. Though I’m sure the tubular bells did not sound quite right. The chorus blasted out in the Te Deum, with Oliver Papadakis getting the pretty little solo as the Shepherd Boy.
Expectedly, the night ended with a rousing rendition of the Ukrainian anthem. Dee looked stoic here holding up the flag with Liskovetskyi, with some of the chorus wiping away tears. A touching moment, made all the more real for this opera company who’s thoughts are with home.
Tosca continues on tour with Carmen and Madam Butterfly.
What a vocal sensation Dreamgirls brought to the WMC last night, I loved every minute of it. Enter the glitzy glamorous world of the music business, where the public sees only what the business wants them to see. But scratch below the surface and you soon find the harsh reality of it all, the struggle to get into the music business in the first place, the constant fight to stay there.
The racism, sexism, financial exploitation, the backstabbing, the lies, the hurt and the fight for recognition in a world saturated by wannabes, has-beens, and could-have-beens, all still vying for attention, a taste of the highlife and a share of the money that comes from others hard work. The Dreamgirls has it all! Take away the back story and Dreamgirls is a visual and sound explosion.
The listener is immediately transported to mid-1960s Detroit. The music and songs are well written and typical of the era with the Motown sound very prominent throughout.
The show’s cast is incredibly talented and versatile, great acting, great dancing, and fabulous singers. No credit can be taken away from any of them, but some spine-chillingly brilliant solos stand out above all else and bring the audience to their feet. If you’ve seen Dreamgirls you’ll have lived these moments, if you haven’t seen it then I suggest you do!
We’re looking for someone to write or sign a creative review of the BSL interpreted performance of Ocean. You don’t need experience, you don’t need qualifications, just a willingness to tell us what you liked about the show and what could have been better.
You can send your review as a BSL video or a piece of writing. It will feature on the Get the Chance website and we’ll share it on the New Theatre’s social media channels.
Could this be you?
Email info@newtheatrecardiff.co.uk with a few words about why you’d like to be involved and we’ll get back to you as soon as possible.
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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