(3 / 5)

It’s a well-known fact (well, okay, not a fact exactly but often a popular opinion) that ‘the book is always better than the film.’ This is, of course, subjective, as some of us enjoy reading where others don’t, but in my experience, films tend to have to miss out a lot of detail from its written inspiration due to time, budget and varying other reasons. Unfortunately, this is how I felt about The Da Vinci Code. This is not to say I disliked the stage adaptation but that, for me, the book simply didn’t translate well to the stage. As a big fan of Dan Brown’s book, I felt a lot of the action and the detail was rushed, where the detail of the book’s plot, particularly the detail in the symbology, is what it should be all about.

As we enter the auditorium we are greeted with a projection of the Vitruvian Man, the drawing by Leonardo Da Vinci which depicts a man in two superimposed positions with his arms and legs apart and inscribed in a circle and square, representing his concept of the ideal human body proportions. It is a well-recognised piece by Da Vinci therefore immediately transports us to his world and, to those who are already aware of the plot, to the Louvre Museum in Paris. For those unaware of location, we also hear announcements in French telling us that the museum will be closing in a few minutes time, counting us down to the beginning of the play. There is also appropriately suspenseful music playing which unfortunately becomes annoyingly repetitive after about five minutes!

The play begins with Robert Langdon (portrayed brilliantly by Nigel Harman, probably most well recognised for his role in Eastenders) giving a symbology lecture, with a nod to Walt Disney and the Mickey Mouse watch he always wears! We are immediately introduced to most of the ‘cast’ who almost act a Greek chorus, representing bit parts and scene changes, providing summary information, and highlighting important dialogue. All wear hooded tops which they don when part of the ‘cast’, when they’re not portraying a main character. This works well and provides clarity to the story, particularly for those who may not be familiar with it. The piece was excellently cast, and special mention must go to Hannah Rose Caton, who portrays Sophie Neveu beautifully. I am at first taken aback that she isn’t using a French accent but as the action ensues, it’s clear this makes no impact on the role itself. Kudos also to Andrew Lewis, understudy Leigh Teabing who steps into Danny John-Jules’ shoes seemingly last minute (there is no announcement or information in the programme to suggest any cast changes). Having looked forward to seeing Danny John-Jules in this role I am a little disappointed but Andrew Lewis’ portrayal of Teabing is perfect and akin to Sir Ian McKellen’s on screen version. It also appears we are another cast member down, meaning the roles of Sauniere and Remy are played by the same actor, Adam Morris (much to my excitement, having been a huge fan of CBBC’s Maid Marian and her Merry Men as a child!) Morris really steps up to the plate and plays both roles superbly, causing no confusion as to who’s who.

The story travels from the Louvre Museum in Paris, to churches, Teabing’s estate, London, Edinburgh etc. so I am intrigued to see how this is going to translate to stage, the use of modern technology and stagecraft allowing for the audience to be transported from location to location seamlessly. The use of projections, easy-traveling set, a few simple props, and creative lighting design mean we clearly move from scene to scene and know where we are without hesitation. Projections are also used to show symbols and paintings and there is effort to home in on the details of these, particularly at Teabing’s home where we see a large projection of Da Vinci’s painting The Last Supper on the wall which is then zoomed in to highlight its supposed hidden meanings. However, I feel a lot of these moments, often huge revelations in the book and in the film, are somewhat rushed here (none more so than the secret revealed to ‘Princess’ Sophie at the end of the play). Where these moments could be lingered on, the action is packed in to two hours, which just isn’t enough time to appreciate the detail.

There are a lot of clever elements in this production which, with a less intricate story, could have worked successfully. However, I think lack of time, and location (allowed for on the big screen) mean that the detail and the atmosphere of the plot get lost somewhat. Nonetheless, a fantastic cast and certainly an enjoyable production, perhaps better enjoyed without the book lover’s expectations!

The Da Vinci Code continues its UK Tour on February 22nd at the Belgrade Theatre in Coventry and finishes on November 12th at The Alhambra Theatre in Bradford. Head to the website to book your tickets:

Theatr Clwyd, Mold
February 14th-February 19th, 2022

Cast
Robert Langdon: Nigel Harman
Vernet & Cast: Basienka Blake
Remy & Cast: Adam Morris
Sophie Neveu: Hannah Rose Caton
Sir Leigh Teabing: Andrew Lewis
Fache & Cast: Alpha Kargbo
Silas & Cast: Alasdair Buchan
Sauniere & Cast: Adam Morris
Collet & Cast: Leigh Lothian
Sister Sandrine, Marie & Cast: Debra Michaels

Production Team
Company Stage Manager: Roger Troup
Deputy Stage Manager: Ellie Southwell
Assistant Stage Manager: Mim Evison
Sound 1: Elliott Roberts
Video 1/Sound: Llyr Parri
Wardrobe Manager: Ivy Bridgwater-Court
Relighter: Samuel Baker
Production Carpenter: Chris Ashenden

Creative Team
Author: Dan Brown
Adapters: Rachel Wagstaff & Duncan Abel
Director: Luke Sheppard
Set & Costume Designer: David Woodhead
Video Designer: Andrzej Goulding
Lighting Designer: Lizzie Powell
Composition & Sound Design: Ben & Max Ringham
Musical Director: Chris Poon
Movement Director: Tom Jackson Greaves
Casting Director: Stuart Burt CDG
Associate Director: Leigh Toney
Production Manager: Digby Robinson
Costume Supervisor: Ester Mangas
Props Supervisor: Lizzie Frankl
Associate Props Supervisor: Zoe Wilson
Fight Director: Alison De Burgh

Running Time: 2 hours (including 20-minute interval)

Play On is a new collaboration between Theatr Genedlaethol Cymru, Theatr Clwyd and National Theatre Wales to find new and exciting scripts and plays by playwrights based in Wales.
Over the next year, Play On will enable playwrights to send their unpublished scripts and plays anonymously to an eager panel of readers for valuable feedback. There may be an opportunity for the most promising scripts to be developed, matching the script and playwright with one of the three organisations best placed to develop, commission and produce it.

Arwel Gruffydd, Artistic Director of Theatr Genedlaethol Cymru, explains how this new partnership is a unique opportunity for playwrights in Wales:

”This is the first scheme of its kind in Wales. I am extremely pleased that we’re collaborating with National Theatre Wales and Theatr Clwyd on such an exciting experiment. We hope that it will present us with an opportunity to share the message widely and nationally about the opportunities that are available for our playwrights to present their work in both languages, to three of our largest theatre production companies by way of a one-stop-shop. Theatr Genedlaethol Cymru hopes that this venture will allow us to hear from diverse voices and new playwrights of all ages, regardless of their level of previous experience.”

During the process, playwrights will have access to an eager panel of freelance and in-house readers, selected by the three partners following an open callout in August 2021. Readers have been appointed for 6 months and there will be another opportunity to apply for the role. For the first 6 months these include Charles O’Rourke, who has a background in manual labour, literary translation and queer activism and is a script reader for Liverpool’s Everyman Playhouse and Channel 4. Lowri Izzard, who trained at RADA and has recently wrapped on a new comedy feature film, Brian and Charles, for Film4 and BFI. Freelance dramaturg Mary Davies, who has recently completed her PhD at the Shakespeare Institute and RSC. Melangell Dolma, playwright, actor and Creative Development Coordinator at Theatr Genedlaethol, and Yasmin Begum who is a Welsh-Pakistani campaigner, writer and creative practitioner. She currently works at Gwasg Honno Press, the oldest independent women’s press in the United Kingdom. Rahim El Habachi, who is a creative associate with National Theatre Wales, an LGBT+ refugee and asylum seekers campaigner, has worked with the Welsh National Opera and Sherman Theatre; he is a performer and theatre maker.

‘It’s wonderful to be announcing this programme which opens a new and accessible pathway for the incredible richness, diversity and talent of Welsh playwriting. Along with our partners, NTW is committed to opening creative conversations with writers from the many contexts and cultures that make up a modern and inclusive Wales. The playwrights of Wales are an incredible asset to the storytelling and evolving identity of our nation. It’s of huge importance that established and new voices alike should have transparent and accessible avenues to share their ideas and work with major producing organisations.’

Lorne Campbell, National Theatre Wales.

Another exciting part of the offer is the opportunity for the readers to continue to build dramaturgical skills. British/American literary manager and dramaturg Raphael Martin is the owner of The Lit Shop Ltd, a literary management company for theatres that want a role such as this on a consulting basis. He has worked as a dramaturg and literary manager at many prestigious organisations including the RSC, Sonia Friedman Productions, ATG, The Bush, The Gate Notting Hill, The Royal Court Young Writers’ Programme, The National, Manhattan Theatre Club and Soho Rep. His current clients include institutions based in the UK, the US, Canada and Australia.

Welsh dramaturg Ffion Emlyn has worked for the BBC for over twenty years, mainly as a Radio Drama Producer for BBC Radio Cymru. Ffion has also worked as Script Editor and Story Producer on other BBC programmes such as Casualty and Pobol y Cwm, and has enjoyed developing new writing talent over the years.

Theatr Clwyd is delighted to be involved: “As a venue we believe that Play On is a vital step for ensuring that new, diverse and talented voices are heard on stages around Wales. We are really pleased to have the opportunity to work with Theatr Genedlaethol Cymru and National Theatre Wales on this exciting project.” Tamara Harvey, Theatr Clwyd.

This is an open call for scripts already in existence, which have not been previously produced or presented to any one of the three partner organisations.

Scripts can be for any target age group but must be for live performances, including musicals. All playwrights aged 18 and over are invited to submit their work in either Welsh or English, and/or bilingually. Each script will be read anonymously, and scripts should be longer than 20 pages. The first submission window opens 16 February 2022 and closes on 31 March 2022. More information regarding how to submit scripts will be published soon.

If you have any questions, you are welcome to email us at post@amddrama-playon.cymru, or contact us via voicemail or text to 07908 439417.

(4 / 5)

There is nothing I love more on a lazy weekend than wrapping myself up in a cosy blanket and watching re-runs of the mockumentary sitcom The Office. If you haven’t heard of this show before it’s set in a fictional paper distribution company Dundee Mifflin which is run by an incompetent boss. I know that this is going to start a debate but, despite Rocky Gervais’ comedy, I do much prefer the American version of the show which stars Steve Carrell. The reason I bring this up is that many fans of this show will be slightly confused and excited by the title of the latest play I have watched. Within this fictional show, a character simply referred to as Andy (played by the wonderfully talented Ed Helms) jokes about writing a companion to the controversial “Vagina Monologues”, which is a series of stories of real experiences of women, which he would title “The Penis apology.” This comment comes after this character stating that he had experienced numerous women’s studies classes while at college but still expressing his frustration at the modern feminism movement. While the play of the same title is not a parody or extension of this character’s creation (it’s not a play set in a similar time frame or location as the office) it is based on a very similar experience and/or frustration.

The play is created by Anker Sengupta who also stars in this one-man production. Performing in a one-person production must be incredibly difficult as the actor is solely responsible for keeping the audience’s attention throughout. This is even more impressive as Anker was able to keep a hold of the viewers throughout the whole hour show with no use of props/theatrics and very little movement which goes to show the acting ability that he possesses! This production was performed at Cathays Community Centre (which is not a venue I have been to before) which is a very cosy and intimate theatre experience. The smaller audience allowed Anker to be able to give direct eye contact to every person in the audience which further engaged them into the centre of the story. He was able to perfectly balance the opening moments of the show where the arrogant narrator expresses all his controversial options/frustrations with modern feminism with the closing moments of the show where we see a much more vulnerable side of the character. This contrasting book-ended structure helps the audience to get to understand the character and despite only knowing them for a short hour, you leave feeling as if they have been a close friend for many years!

The show starts with our character brainstorming how he is going to explain to his girlfriend that he had ran over her cat and follows their stream of consciousness in a meandering monologue that explores some of his viewpoints on modern issues. The narrative circles back at key points veers randomly and include a range of emotion that mimics the way in which people tell stories in real life which alongside the eye contact and content of the monologues allowed the audience to warm to our character despite their very controversial viewpoints. The end of the show is much more emotionally driven and powerful as we explore our guides childhood and some of the traumatic events that led to this more negative stance of life. Anker was able to flawlessly switch from the arrogant and confident aspects of the character to this more vulnerable perspective that had me very close to tears. I would say that “The Penis Apology” is a show for a more mature audience due to the apparent issues with feminism that may go over younger viewers heads. Additionally, there is strong language throughout with references to violence, alcohol and many other controversial modern issues that would not be suitable for young people. I also think that this show could have used some sort of cue to mark the beginning and the end of the performance. Whether that is a spotlight, a section of music, an action etc that would demonstrate to the audience that the show had begun/ended they seemed to blend into each other which some audience members may find confusing.

Overall, The Penis Apologies is an excellent portrayal of the ‘modern mans’ issue with feminism who, despite how controversial his viewpoints are, we get to understand and develop a fondness for as the play progress. It is very impressive that Anker is able to keep the audience’s attention sharply on him during this one-man show without the use of any props, staging etc and the structure of the monologue has been carefully crafted to showcase a believable character.  I would rate this show 4 out of 5 stars!

Newyddion i’w croesawu yw cyhoeddiad diweddaraf Llywodraeth Cymru o ran dechrau codi cyfyngiadau cadw pellter cymdeithasol i sector y celfyddydau perfformio, ond mae adroddiad newydd gan Creu Cymru yn dogfennu cyflwr argyfyngus y diwydiant a achoswyd gan y cyfyngiadau Covid yn enwedig dros gyfnod y Nadolig sydd fel arfer mor brysur.

Mae Creu Cymru, gynghrair sector y celfyddydau perfformio yng Nghymru sy’n cefnogi ac yn cysylltu pobl, cynulleidfaoedd a chymunedau, wedi amcangyfrif mai cyfanswm y refeniw a gollwyd gan ei haelodau, sy’n cynrychioli bron holl theatrau, canolfannau celfyddydau a chwmnïau cynhyrchu’r genedl a reolir yn broffesiynol, yw £8-10 miliwn ers i Gymru fynd yn ôl i Lefel Rybudd 2 ar 26 Rhagfyr. Canlyniad gorfod dychwelyd i’r rheol o 6 gydag uchafswm o 200 yn y gynulleidfa oedd i’r rhan fwyaf o theatrau yng Nghymru ganslo perfformiadau neu gau’n gyfan gwbl gan nad oedd yn ariannol gynhaliol i barhau.

Mae Creu Cymru wedi bod yn lobïo Llywodraeth Cymru a Chyngor Celfyddydau Cymru ar ran ei aelodau am gymorth ariannol pellach ac i ailystyried yr angen am gadw pellter cymdeithasol mewn theatrau. Mae wedi bod yn eirioli dros y sector theatrau ers cyn i’r cyfyngiadau diweddar yma gael eu rhoi yn eu lle, gan gynnwys cyflwyno’r achos i Bwyllgor Diwylliant, Cyfathrebu, y Gymraeg, Chwaraeon a Chysylltiadau Rhyngwladol y Senedd fel rhan o’i ymholiad undydd i’r celfyddydau a’r diwydiannau creadigol. Tynnwyd sylw at bwysigrwydd derbyn cyllid yn gyflym yn dilyn unrhyw gyhoeddiadau ariannu.

Yn ôl Louise Miles-Payne, Cyfarwyddwr Creu Cymru, “Rydym yn cydnabod ymateb cyflym a chadarnhaol Llywodraeth Cymru i’n lobïo parhaus ers diwedd 2021 am gefnogaeth ariannol i sector y celfyddydau yng Nghymru. Roedden ni’n hynod falch o weld y Prif Weinidog yn cyhoeddi dyddiad terfyn posibl ar gyfer y cyfyngiadau ar theatrau a sectorau adloniant eraill heddiw. Ochr yn

ochr â’r newyddion ynghynt yr wythnos yma am Gronfa Adferiad Diwylliannol bellach o 15.4 miliwn, bydd hyn yn mynd ymhell i helpu sector y mae’r cyfyngiadau wedi effeithio arno’n enfawr.

Mae tymor y Nadolig yn gyfnod hollbwysig yn y calendar theatrig; mae’n denu incwm sydd ei ddirfawr angen ac yn dod â theuluoedd ynghyd. Ein hamcangyfrif oedd cyfanswm colledion o tua 8-10 miliwn i theatrau yng Nghymru yn y rownd ddiweddaraf yma o gyfyngiadau. Rydym yn ddiolchgar am yr ymgynghoriad y gallen ni ei gael â Gweinidogion a swyddogion Llywodraeth Cymru sydd wedi gwrando ar ein pryderon a’n cwestiynau.

Ar ran ein haelodau, rydym wedi pwysleisio’r angen am amser digonol i gynlluniau gael eu rhoi yn eu lle. Mae’r newyddion heddiw’n golygu bod y miloedd o gynhyrchwyr, actorion, cerddorion, canolfannau a staff cynorthwyol ar draws y diwydiant sydd wedi bod yn trafod yn bryderus a ddylent ailddechrau sesiynau ymarfer a’r marchnata cysylltiedig â chynyrchiadau sydd yn yr arfaeth ar gyfer mis Chwefror ymlaen, yn gallu symud rhagddynt gyda mwy o sicrwydd.”

Mae adroddiad Creu Cymru i Lywodraeth Cymru ar statws y sector yn nodi bod o leiaf 19 o theatrau’n gorfod canslo eu cynyrchiadau i’r Nadolig a pherfformiadau ar y gweill ym mis Ionawr.  

Mae Llywodraeth Cymru hefyd wedi cyhoeddi taliad brys o £1000 ar gyfer gweithwyr llawrydd sy’n gweithio yn y sector a fydd ar gael drwy awdurdodau lleol o’r wythnos nesaf, gyda’r manylion llawn yn cael eu cyhoeddi 17 Ionawr. Fe ymddengys y bydd lleoliadau perfformio a chanolfannau celfyddydau ac amgueddfeydd diwylliannol yn debygol o fodloni’r meini prawf ar gyfer y gronfa £15.4m gan eu bod yn gallu dangos yn haws y golled incwm a gafwyd. Fodd bynnag, hyd yn hyn, nid yw’n eglur sut y bydd cwmnïau cynhyrchu’n cael eu cefnogi os na all prosiectau arfaethedig fynd yn eu blaenau neu pa fathau o yswiriant a allai fod ar gael os bydd gwaith sydd wedi’i gomisiynu’n cael ei ganslo.

The latest Welsh Government announcement to begin lifting social distancing restrictions is welcome news for the performing arts sector, but a new report by Creu Cymru documents the crisis-status of the industry caused by the Covid restrictions particulary over the typically busy Christmas period.

Creu Cymru, Wales’ Performing arts sector alliance that champions and connects people, audiences and communities, has estimated that the total loss of income for its members, who represent virtually all the nation’s professionally run theatres, arts centres and producing companies, is between £8-10 million since Wales re-entered Alert Level 2 on the 26th December. Having to return to the rule of 6 with a maximum capacity of 200 resulted in most theatres in Wales cancelling performances or closing completely as it was not financially viable to operate.

Creu Cymru has been lobbying Welsh Government and Arts Council of Wales on behalf of its members for further funding support and to reconsider the need for social distancing in theatres.  It has been advocating for the theatre sector since before these recent restrictions were put into place, including presenting the case before the Senedds Culture, Communications, Welsh Language, Sport and International Relations Committee as part of its one-day inquiry into arts and the creative industries.

The importance of getting funds turned around quickly following any funding announcements was highlighted Louise Miles-Payne, Director, Creu Cymru said “We recognise the swift and positive response by the Welsh Government to our continued lobbying since the end of 2021 for financial support for the Welsh arts sector. We were extremely pleased to see the First Minister announce a potential end date to the restrictions on theatres and other entertainment sectors today.  Alongside the news earlier this week of a further 15.4 million Cultural Recovery Fund, this will go a long way to help a sector hugely affected by restrictions. The Christmas season is an incredibly important part of the theatrical calendar, it brings in much needed income and brings families together.  We

estimated total losses of around 8-10 million for theatres in Wales in this latest round of restrictions.  We are grateful for the consultation we’ve been able to have with Welsh Government Ministers and Officials who have listened to our concerns and questions.

On behalf of our members, we have stressed the need for sufficient time for plans to be put into place. Today’s news means that the thousands of producers, actors, musicians, venues and supporting staff across the industry who have been anxiously debating whether to begin

rehearsals and the subsequent marketing of productions planned from February onwards, can now proceed with greater assurances.”.

Creu Cymru’s report for the Welsh Government on the status of the sector documents that at least 19 theatres had to cancel their Christmas productions and performances scheduled in January..

The Welsh Government also has announced a £1000 emergency payment for freelancers working in the sector which will be made available through local authorities from next week with full details announced on January 17. Venues and cultural arts centres and museums look likely to meet the eligibility criteria for the £15.4m fund as they can more easily demonstrate the loss of income they have suffered. However, it is as yet unclear how producing companies will be supported if planned projects cannot go ahead or what insurances could be available if cancellations come after the work has been commissioned.