In this interview Rhys Payne interviews Hamed Amiri writer of The Boy With Two Hearts, adapted by Phil Porter now showing at Wales Millennium Centre, Cardiff.
You can find out more about the production and book tickets here.
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The Mormons have finally made their journey all the way from Utah and have landed at the Wales Millennium Centre to celebrate their first touring musical in the Donald Gordon auditorium. They bring with them their signature twisted comedy, super catchy musical numbers and (surprisingly) an unreal amount of camp fun! What is probably most important to keep in mind before deciding to watch the show is that it comes from the satirical minds of Trey Parker and Matt Stone (who created South Park the tv series), and Bobby Lopez (who is one of the key writers of Avenue Q the puppet musical) and so this is not a musical for the faint of heart or anyone who is easily offended. There is constant bad language, sexual references and the jokes are usually based on outdated stereotypes who to a modern audience could be teetering on the offensive. It is extremely crude the entire way through and so is clearly meant for a more mature audience. This musical is very clearly a comedy which is shown in the opening moments of the show where all of the Mormons (who are devout members of the church) are all extremely flamboyant and camp! The choreographer Casey Nicholaw and their team had carefully crafted the dance routines in this musical to exaggerate the more effeminate physicality of every performer which let the audience know from the opening number that this was all supposed to be in jest and not an educational show (although their are a few moments where you will learn some new this about this religion) with the character Elder McKinley playing upon this throughout the show (but more on that later!)
The show is based on the very real moment in a Mormon where they are sent out of their mission trips to try and bring new people into the faith. It follows a shining star in the Mormon faith Elder Price, played by extremely talented Robert Colvin, as he is paired with the much more chaotic Elder Cunningham, played by the brilliant Conner Pierson, who are randomly paired together to spend the next two years in Africa specifically Uganda. The conversion trip is met by a lot of backlash for the locals as they have experienced numerous people coming over to try and promote Christianity but leaving the locals in the exact conditions they found them in. I thought that the casting of Rober Colvin as the up and coming leader of the faith Elder Price was fantastic! His physicality, vocals and facial expressions all helped to add to the preppy all-American character and purposefully reduced the amount of sympathy the audience have for the character and instead focuses this onto Elder Cunningham. This character goes through a rollercoaster of emotions throughout the show from when he begins to lose faith in the religion he has been following since a young age, to the anger/frustration at being paired with his eccentric mission partner, to the moments where he is overflowing with arrogance. All these moments were performed beautifully by Robert and really took the audience of a journey with the feelings towards this at times selfish character. I thought that “I Believe” was a highlight for me as Robert seems to excel in and is more confident during the higher sections of his vocal range. This song was structured as an almost detailed list of what Mormons should believe but with sprinkles of comedy throughout.
Despite all this, however, the highlight in this production would have to be Elder Cunningham who was played by the wonderful Connor Peirson. This was an extremely comical role that very much starts off as the punch line of many jokes but by the end because of a very strong and powerful leader. Connor managed to captures the more timid and more energetic moments in the show flawlessly! I thought that his rendition of “Man Up” was incredibly fun and energetic which was the perfect way to end act one. This was a theatrical spectacle with Conner flying across the stage on a moving platform, creating his own magnificent stage lighting and dancing across the stage in the most over-the-top way I have ever seen. Every comedic moment within the song was performed excellently with the audience in hysterics throughout the whole number. Both Elder Price and Cunningham contrasting personalities clashed beautifully together so much so that it made sense why they got on so well by the end of the show. The duet of “you and me (but mostly me)” really showcased the more arrogant side of the former and the side-kick energy and sympathy required for the latter! Cunningham forms a relationship with Nabulungi (played by the incredible Aviva Tulley) who lives in Uganda with her father. These two perform the hilarious “Baptise me” which contains wonderfully awkward sexual energy the audience seemed to eat up every second of it! However, the highlight performance of this character was the song “Sal Tlay Ka Siti” which was flawlessly sung by the clearly very talented vocalist.
I mentioned early about how Elder McKinley, who was played by the incredibly entertaining Jordan Lee Davies, really leaned into the more camp elements of the musical. In fact, this is the only character that openly talks about being, I suppose you would call it, an ‘ex-gay’ member of the church. However, this character showcase a lot of ‘fruity’ behaviour which does make the audience wonder if the “turn it off” method actually works. Jordan performed this role with all the fun and energy it deserved and stay in character the entire time even stealing focus when they weren’t even speaking. McKinley alongside his wonderful gaggle of dancing moments were brilliant fun throughout and I thoroughly enjoyed “Turn it off” especially the magical costume change and tap number that occurred about halfway through the number!
Overall this was a very energetic, entertaining and fun musical that was crammed full of catchy musical numbers. If you have a darker sense of humour then I would strongly recommend this show for you but if you are even the slightest bit easily offend it’s probably not one for you. The audience were on hysterics throughout the majority of the show which made for a very relaxed environment. I would rate this show 4 out of 5 stars!
“The Boy with Two Hearts” is a beautifully artistic piece of theatre which tells an authentic and heartbreaking story, of inequality, struggle, and hope.
The set design immediately drew me in to the world of the Amiri family, a family of five living in Afghanistan under Taliban rule. First to step out on stage and introduce us to this story is the beautiful solo voice of Afghan singer Elaha Soroor. Soroor’s gentle tone and almost-hypnotising lyrics seem to carry the story along, she acts as an angel of death alongside the family. It is poignant that her voice and presence is consistent throughout our journey even though the Amiri’s are facing turmoil and pressure at every turn.
Words and language seemed to be a big theme running throughout the design of the piece. The switch in language between Farsi and English, along with the projections of captions onto the raised level of staging behind our actors, was a highlight of the production for me. I particularly loved the use of descriptors as images, an extremely inventive yet inclusive approach to experiencing the storytelling in front of us. The use of lighting and sound was exceptional as a whole, it paired well with the elements of physical theatre that the actors explored in several poignant moments of their journey. A perfect example of this was the hospital sequence, Hussein’s character is receiving cardioversion to the heart which is portrayed through physical acts of slow motion, sound, and a strong pulse of lighting. We can feel the beat of the scene and are on tenterhooks waiting for the outcome, much like the other characters in the story. Key thematic words were made to stand out in the light, given their moment to make impact and resonate with us, and then left lingering in our minds for hours if not days after the play was over.
The sense of location and travel was strong, there was a good use of levels and crawl space to represent the small compartments inside lorries, cars, and boats throughout the Amiri family’s travels to the UK. The way the actors multi-rolled was stylistic and effective, I felt it really showed the range of the talented cast and added a sense of uncertainty and tension to the voyage- the audience were immersed in their journey, as if we were experiencing it with them.
The story as a whole was written well, it was fast paced and I liked the introduction of new characters along the way- it really reminded us as an audience of the other people who were in similar circumstances but still going on completely different journeys. There was great chemistry between the actors on stage. They allowed enough space for the audience to sit in those intimate moments and take a breather from the action, before dispersing into their individual roles of narrating the storyline and taking us along with them. This method of storytelling was perfectly executed and represented the themes of family, love and hope through those dark and traumatic times.
“The Boy with Two Hearts” is a must-watch for every audience, it’s a dynamic insight into the inequalities and cruel structures of our world, where a resilient family must fight for their right to freedom, safety, and a place to call home. This would be an incredible educational experience for a younger audience, not only because of the important and enlightening content, but also for drama students looking to widen their knowledge around the art of impactful performance. This production perfectly encapsulates the wonderful and interesting elements that exist in theatrical storytelling.
Wales Millennium Centre, Cardiff. Itself an imposing building and host to much brilliant theatre and this was no exception as it hosted the first Welsh refugee story to be brought to the stage. The Boy With Two Hearts, is a play based on the book of the same name by local author Hamed Amiri and adapted for stage by Phil Porter.
The scene is set, it is Afghanistan in the year 2000. The Taliban are rapidly taking over the country and imposing intolerable laws, people speak out but sadly to their detriment as Hamed and his family soon discover.
Their lives change overnight and soon begins a race against time to leave their homeland…a race for survival. The play tells the story of how Hamed and his family embarked on their perilous journey to safety, the hardships and the dangers they encountered enroute, the people who were there to take from them what little they had and the humanity shown by others. It portrayed a family bound by love, by commitment to each other and by the courage and determination to succeed.
As the story unfolds we learn about each individual member of the family, their hopes, their desires, their dreams. It gives a realisation that people are the same the world over, all striving for the same things, the right to live a life without fear, without hardship and most importantly of all a life of freedom. During the play we also learn a lot about one of the brothers life-threatening condition and the treatment he so desperately needs.
The acting was incredible, within minutes you were convinced that this was the family themselves and they weren’t actors playing the parts. The set was grimly atmospheric, the addition of the displayed dialogue was genius and the live vocals created a haunting backdrop. The story played on your every emotion, it was heartfelt, thought provoking, humorous, happy, sad…and real. I can say with all honesty that this play not only made me happy and sad in equal measure but left me thinking, it made me realise how little I know about the plight of others and how little I can do to help
3 Nights Only! The TIGERFACE SHOW. (AGES 14+ SHOW LENGTH 70 MINS.) The Riverfront, Newport. Thursday 21, Friday 22 & Saturday 23 October 2021 at 7.15pm Tickets – £12, concessions – £9
The TigerFace Show is a funny and irreverent comedy performance about our expectations of adulthood, asking us to re-evaluate what it is we really want to be when we grow up whilst demanding we find some child-like happiness in adulthood.
Performed as a mad and frantic hour of physical comedy, TigerFace attempts to re-create the last ever episode of his old kids tv serial The TigerFace Show.
The performance quickly unfurls into a semi-autobiographical, audience responsive, ragged-scream-party-piece, that’s one part misery, two parts joyful.
All audience members will receive FREE Piña Colada!*
*There will be no Piña Colada. This show will explore themes around childhood, alcohol and mental health.
For more information on this production and to book go here
“Anfamol” is a fast paced and shocking insight into the life of a single mother living through the COVID-19 Pandemic
This was my first experience of live theatre in two years, and a new one- as I used the Sibrwd App to access the translation of this Welsh performance. Overall, I found the app fantastic, easy to use, and not at all off-putting, especially considering the style of the piece and the one-way monologue that was being delivered. Utilising the voice of Bethan Ellis Owen could only have made it better.
The play went through stages and had a clear sense of mission. Ani is a lawyer, she is also a single woman- yet she longs for a child. We get the feeling that even though she is a successful woman and has achieved a lot, there is still a gap in her life. After getting pregnant via a sperm bank, Ani starts to experience the struggles of motherhood. When it is time for her to return back to work, Ani is relieved, only to find out that the COVID-19 pandemic has hit and she must stay at home with her son. Rhiannon Boyle must be applauded for the bravery in her writing as well as her skill to bring together the chaos of a story like this one into a well-paced timeline of moments, which we can follow and observe.
The character of Ani was well-thought out- she was brutally honest and raw, which made the audience latch on to her every word from the beginning of the story. Bethan Ellis Owen portrayed the character with authenticity, and presented an energy which engaged the audience at every stage.
The set design by Amy Jane Cook was simplistic and allowed Bethan Ellis Owen to establish the fourth wall. The audience were observing her story from above which I felt was in keeping with the themes of the play: Ani’s loneliness throughout the story, as well as her constant longing for approval from outsiders- e.g her parents, her family members, her nct group, and, of course, the audience. Though her monologue was veracious and really funny at times, there were moment’s where we saw Ani doubting herself in her speech, questioning her morals and some of her beliefs around feminism, which was a clear indicator of the outside pressures pushed onto her. As a woman she is experiencing the blurred lines between what she really thinks and feels, and what she is told she should think and feel. This doubt continues throughout the play and as Ani starts to lose her identity, we recognise that in her, her monologue becomes more chaotic, more disturbed, less positive and vibrant, and she is no longer the Ani we once knew.
Ani’s story is dark and “Anfamol” did a brilliant job of raising awareness of the struggles that many mothers would have gone through during the pandemic. So much so, that I was expecting the play to end on a commentary of the political and social issues of today. However in this case, Ani was lucky to be able to access the right support which gave her a positive new start in life. It is clear that Ani was in a much more privileged position than some women would be. Boyle’s purpose may not have been to slander the system, however she did an amazing job of raising awareness and showing women that they can get the support they need- and that’s ok too.
You can find out more about the production and book tickets here
‘Rent Party’ is the latest production by working class led theatre company Common Wealth. Based in Cardiff and Bradford and run by directors Rhiannon White & Evie Manning, Common Wealth are pioneers of championing stories of working class people, by working class people, in their own communities. Rent Party is no exception.
Held at Rumney Conservative Club (no the irony of that isn’t lost on anyone), the audience are invited to grab a pint before they head in to the main space. With tables laid out cabaret style, an open dance floor and a small stage at the back, this performance could be your Nan’s birthday party at the community hall, complete with the ubiquitous tinsel, balloons and disco lighting.
The performers hand out party rings, Haribos and jelly shots as a pianist plays soft jazz renditions of “All of Me” and “As Time Goes By”, creating a warm and inviting atmosphere.
Inspired by Harlem Rent Parties of 1920s America, where working class black folks would perform to pay their rent, “Rent Party” seeks to bring this concept to life with an unapologetically Welsh twist. The show was originally staged Manchester by director Darren Pritchard, but is now being reimagined with artists from across the country, and this particular collaboration with Common Wealth theatre succeeds in creating what the programme describes as “a kaleidoscopic picture of what it means today to be gifted, Welsh and working class.”
At the start of the show some audience members are handed vouchers, and we’re told by our compere Stuart Bowden, that the four performers will each now sing for their supper. We must decide which performer’s story is worth more of our vouchers, and therefore, who can pay their rent this month.
Each performer in turn gets to showcase their unique cabaret talent and talk movingly of their own experience in a monologue navigating class, race, gender and sexuality growing up in Wales.
Bowden, in a high ponytail, black spandex and heels describes himself as the “Margaret Thatcher of this Conservative club”, as he skilfully guides us through the worlds of each of the performers. Each cabaret performance is interspersed with a party game led by Bowden, including a memorable game of limbo where the height of the bar represents social barriers like public sector pay cuts, the average wage, or 1 million people in poverty. It’s more fun than it sounds.
First up is Darnell Williams who raps about Afrofuturism, hope, and coming into his power as a working class Welsh boy from Cardiff. He remembers thinking “no one is gonna make a black boy from Ely famous” but then he reconsiders, remembering black Welsh heroes like Shirley Bassey and Colin Jackson.
Next is Yasmin Goulden whose superb dancing skills run throughout the show. She dances to 1920s style music in a banana skirt: an homage to Josephine Baker. Yasmin talks about her struggles growing up in Swansea having moved from Malaysia, with racist comments and often “being the only brown girl in the room”. She comments “the arguments would start about anything but would always end being about my skin”, and ends her monologue by reclaiming her power as a talented, Welsh working class woman.
A highlight of the show includes Emilie Parry-Williams, a talented singer from Pontypool whose dream of studying at a London music conservatoire is crushed when her teachers make it clear they don’t believe a working class girl deserves to be there. Emilie’s performance of ‘I Could’ve Danced All Night’ (a song sung by a character whose ‘common’ accent has been smoothed out by an upper class man in order to win a bet) brings the house down.
The final powerful performance comes from Jude Thoburn-Price who reads to us from her “book of truths”. This is a piece of performance poetry-come-rap that talks movingly about the effect raising the retirement age has had on her life, the breakdown of her marriage, the freedom of getting older, oh and also the scourge of the dreaded itchy “pound pants”!
The performance can be rowdy and raucous during the upbeat dance and rap sequences (including a RuPaul’s Drag Race style lipsync battle), but is also gentle and intimate, with the performers speaking to us casually and conversationally about their lives.
There’s an undeniable tension in creating a scenario where working class people perform their trauma and show off their talents, in order for us the audience to decide who is ‘worthy’ of paying rent this month. The show displays for us how capitalism has created a false idea of a deserving and undeserving poor, the myth of the meritocracy, the barriers faced by people in society because of the community where they were raised. The show seeks to problematise these ideas, showing you the people affected most by the policies of austerity, and celebrating an array of dazzling talents from working class people.
It’s also just a lot of rowdy fun!
You can find more information on the companies work here
Irlen Awareness Week is a worldwide week to increase awareness of Irlen Syndrome and to educate the public about Irlen Syndrome, this year it is the 18 to 22 October, 2021 so please join us this year. This years event will take place online due to Covid 19.
It’s a very special week for people with Irlen Syndrome and their families
Here are my plans, I have written a blog series about all things about Irlen syndrome, and I have got the Red House in Merthyr, lit up in Purple again this year and shared information about Irlen Syndrome on my own blog too.
If you want to get involved please visit HERE
Balancing the long established financial pressures to reopen at full capacity now that Welsh Government regulations allow, brings many considerations and challenges for Welsh theatres and performing arts venues who at their heart know building audience confidence is imperative for the sector to survive.
Creu Cymru, Wales’ Performing arts sector alliance that champions and connects people, audiences and communities, is clear that the vast majority of its members, who represent virtually all of the nation’s professionally run theatres, arts centres and producing companies are facing complex commercial, programming, staffing and health and safety challenges as they prepare to fully reopen for the first time since the March 2020 nationwide, pandemic-enforced closures.
Louise Miles-Payne, Director, Creu Cymru explains “While most theatres across Wales are delighted to be preparing for their long-awaited reopening, our recent poll showed that venues of all scales unanimously reported their concerns around the competing financial pressures to reopen at full capacity as regulations allow, while many feel continuing with social distancing and therefore lower audience numbers is likely to remain the only viable route to achieving vital audience confidence. As we represent the sector in Wales, encouraging customers to make use of the free to access lateral flow tests that can be sent to your home and carried out in your own time. Knowing that you are safe before you go to a performance helps protects those around you and will keep the magic of theatre alive. We will be promoting this message through our ‘Testing, Testing 123 campaign’ launching Tues 31 August.”
However, historic commercial arrangements with promoters often means the venue is in a difficult position. Angela Gould, Programmer and Audience Development Manager, RCT Theatres said “Trying to reschedule previously cancelled shows that had sold out at full capacity is difficult as many venues may still feel a way off fully reopening their spaces. They need to honour contractual agreements while doing what they feel is best for their audiences while still making the show financially viable.”
Adapting to need for fluid planning is problematic as theatres have to continually plan for different scenarios. The marketing of performances is a particular challenge as many Creu Cymru members reported that ‘shows keep dropping out for various reasons such as ticket sales are not where they should be, there’s not enough lead time to market shows properly, a feeling we can’t market shows confidently as we can’t guarantee they’ll go ahead and are wary of losing the trust of our audiences. Some promoters decide there is too much of a financial risk, for example will Christmas pantomimes go ahead or not.’
Managing differing public opinions is something many theatres reported. Louise Miles-Payne, Director, continued “Welsh theatres told us they anticipate some audience members will want the freedom to remove masks when seated while that may deter others from returning. Managing perceptions of both promoters and the public will be unchartered territory for many venues as some people will have an expectation that everything is resuming and working to normal, and at the same time some audience members may be shocked when performances are not going ahead and can’t understand why things get rescheduled. Therefore theatres are in a difficult position managing the different expectations and realities of all parties.”
Producing companies in some respects have greater control and flexibility over their choice of space for performances and how they can create a solution they feel best works for their performers and audiences. Paul Kaynes, Chief Executive, National Dance Company Wales said “It’s clear we need to continue to be agile in this period, so we’ve offered venues outdoor performances option. Many were building stages in their car parks and green spaces and we had an exciting programme to offer outdoor audiences, especially those new to dance. This is the stepping-stone for many audiences to access live performance again before we ask them to take the leap back indoors. We’re planning to make that leap in the autumn, mostly performing twice in an evening instead of once, to enable at least some socially distanced performances for those who are seeking them.”
The first show to welcome back a full capacity audience in Wales will be Jimmy Carr at St David’s Hall Cardiff on the 31st August. Cardiff Council’s Cabinet Member for Culture, Venues & Events, Councillor Peter Bradbury said: “We are delighted that the first live show with a full indoor capacity audience in Wales will be at St David’s Hall, and especially with such a high-profile name in Jimmy Carr. Over the last 18 months, we have missed live entertainment so much and come to realise what a crucial part it plays in our social lives
Boy is it good to get back to the theatre, and new production ‘Curtain Up’ at Theatr Clwyd certainly didn’t disappoint!
it took me back to my A level Drama days with it’s intimate theatre in the round setting. 5 short plays commissioned during Lockdown, with 10 different actors, playing different roles and using props selected by audience participation. Very random but added to the comedy highlights!
You could see the sheer joy the actors got out of performing again and it felt quite emotional to see them do their thing and applaud their efforts after such a troubling time for all artists.
Curtain Up will be at Theatre Clwyd until 4th September, with each week a different 5 plays being performed by different actors and of course different props, meaning you’ll get a new show every time! If you love old school dramatics, you’ll love this!
