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Theatre

Review Black Box’s Murder Under the Mistletoe at Theatr Clwyd by Donna Williams

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Black Box Events, set up by Denbigh born Mark Hughes, specialise in unique events and entertainment across North Wales. Since its creation in 2019, the company have provided a variety of successful events across a number of different venues in the region. Mark initially started hosting murder mystery events back in 2017 as fundraisers for varying causes and enjoyed it so much he decided to turn it into a part time job! All Black Box’s actors either have professional training or a wealth of experience in performing and this was certainly made clear throughout their latest production Murder Under the Mistletoe at Theatr Clwyd.

On entering the Clwyd Room at the venue, we are greeted with what looks like an office party set up; lots of tables boasting beautiful festive centrepieces, a makeshift bar (with a free glass of wine included on entry…I like this office party already!) and Christmas tunes playing through the speakers. There is even an office Santa making his rounds. The only giveaway that this is not your average office party is a notebook and pen atop the table for scribbling down clues and musings, and a QR code (how modern!) which, when scanned, takes us to a set of character profiles, giving us an insight into the characters we will be meeting this evening. And before we know it, those characters are in the room, chatting, not only amongst themselves but to us, transporting us to their office party and making us included in their company. That company being TechQ. The company director, Jackie, has seemingly thrown us all this party to celebrate such a successful year. Although we already start to get a glimpse that something is not quite right as the characters begin to bicker, throw looks at each other and, as is somewhat expected from a murder mystery evening, one goes and pops their clogs. And it just happens that Inspector Beckett is attending the party and so begins the fun! The inspector duly lines up the culprits ‘on stage’ and we start to learn a bit more about them. After this, it is our turn to interrogate and so ensues a hilarious back and forth between the inspector, the audience, and the characters, all of whom are portrayed brilliantly throughout and, even more impressively, the company improvise most of the piece. As the audience interaction heightens it is wonderful to look around the room and see audience members get so involved: writing in their notebooks, chatting to their friends and family about who they think’s ‘dunnit’ and even turning to guests on other tables and comparing clues! Towards the end, the audience must put on their ‘Sherlock’ heads and decide who they think did it! There is even a prize for the correct guess!

Despite it being ‘murder most horrid,’ this truly was a festive evening; we were even treated to a few Christmas numbers by the boss’ PA as well as her son! All music, sound, props etc. were organised by the cast super slickly and each character had their own clear aesthetic and personality; often stereotyped but not too over the top. There was plenty of dark drama from Jackie and her family, perfectly balanced by some wonderful comedy moments from Jackie’s PA, Josie…and Edward’s wig! The action was not without excitement but there were also a few interludes where the characters left the ‘stage’ and the audience were able to take toilet breaks, purchase another drink and/or discuss the goings on at TechQ! The company even stayed behind at the end of the performance to talk to the audience and take photos with them-a lovely gesture.

Black Box can cater for a wide variety of events including weddings, parties, corporate or even nights in with friends! They can hire out singing waiters, flash mob choirs and even a cinema screen/projector; bringing the magic of the movies into your home (something which went down a storm over lockdown!) And in 2022, Black Box will be hosting their murder mysteries all over North Wales so make sure to keep an eye on their social media channels for ticket info!

You can find them on Facebook and Instagram (just search for Black Box Events North Wales), or you can give Mark a call on 07748 747209 to start organising your personalised event!

Theatr Clwyd, Mold

December 11th, 2021

Writer: Mark Hughes

Director: Mark Hughes

Cast:

Inspector Beckett: Mike Teeson

Jackie Guzzel: Karen Campbell

Sophie Guzzel: Sei Watkins

Ben Guzzel: Mark Hughes

Edward Bamford: Shea Farron

Donna Jarvis: Norma Davies

Josie Davies: Sarah Leanne Davies

Dance

Artists confirmed for Tŷ Cerdd and National Dance Company Wales collaborative short film series

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National Dance Company Wales and Tŷ Cerdd will make five short films working with music creators and dance artists based or working in Wales, in a series called Plethu: affricerdd.

Tŷ Cerdd have commissioned five music-creators of African descent living and working in Wales as part of a collaboration with the Sub-Sahara Advisory Panel. The films are a part of affricerdd, a strand of Tapestri, which is a new initiative (funded by Arts Council of Wales’s Connect & Flourish programme) to create a living musical archive of the people, languages and communities of Wales.

National Dance Company Wales have commissioned five dance artists from any discipline to work in collaboration with these five music-creators to make original short films or music videos. There have been 15 Plethu/Weave films to date which can be watched for free on digital hub on the NDCWales website.

The films will be released between January and July 2022. Follow @ndcwales and @TyCerdd_org for release dates. The five Plethu: affricerdd partnerships are:

Idrissa Camara and Eric Martin Kamosi
Music-creator Eric Martin Kamosi is a guitarist and electronic musician, who creates folk, rock, concrete, electronic and minimal music using a variety of instruments, field recordings and electronic sounds.  Idrissa trained from a young age with the renowned Ballet Bassikolo du Guinee. He has been principal choreographer with many leading dance companies in Guinea and Senegal and pioneered the teaching of dance to the hearing impaired at the Visual Theatre Company of the National Association of Sports and Culture for the Deaf.

June Campbell Davies and Seun Babatola (A.K.A Mista B)
A.K.A Mista B is a musician, lyricist and socially conscious rapper.  His musical tastes vary from break-beat to metal to trip-hop, and he believes, at heart, that genre is simply a veneer. June is a Cardiff based dancer, choreographer and carnival artist. June has also worked collaboratively as a singer and sound artist on a number of albums as well as being a consultant & facilitator with Butetown Carnival.

Kitsch n Sync and E11ICE
E11ICE is the alter-ego of Cornwall-born Cardiff based multi-genre singer and rapper Thalia Ellice Richardson. Melding thoughtful melodies with conscious lyrics on powerful flows E11ICE’s music reflects her journey through each day making the ordinary extraordinary. Taking inspiration from all things retro, vintage and wonderfully absurd, Kitsch & Sync Collective is immediately recognisable by their innovative brand of curiously quirky dance theatre.

Rosanna Carless and Sizwe Chitiyo
Born in Harare, Zimbabwe, Sizwe ‘SZWÉ’ Chitiyo is a 23-year-old singer, rapper and songwriter based in South Wales. After starting his music career professionally 4 years ago, Sizwe played acoustic sets around Wales before venturing into electronic production 3 years ago. Rosanna grew up in Aberystwyth before moving to Bristol and eventually London, where she fell in love with street dance and breakin’.
After joining a number of street dance crews, Rosanna battled as a solo B-girl at events and conventions, winning third place in ‘London’s best street dance crew’. Rosanna has since worked with companies such as HSBC and Sony as well as with musical artists such as Giggs, STylo G and Wiley.

Gundija Zandersona and Jeferson Lobo
Brazilian-born Jefferson Lobo is a musician, composer, and producer living in Cardiff. His music is an invitation to a world of unpredictable sonic possibilities: sweet harmonies combined with soothing and witty melodies, form the basis for his musical cauldron with a pinch of jazz, orchestral, Latin, reggae, futuristic and world music. Gundija Zandersona is a Latvian performer, choreographer and an educator based in Wales, Cardiff. As an executive director of Kokoro Arts Ltd and an independent dance artist she works across a variety of genres including work for families and young audiences, spoken text and movement, physical theatre and contemporary dance.

A further two films made in collaboration with Literature Wales, that fuse poetry and dance, will join these five films made in partnership with Ty Cerdd to complete a third series of Plethu/Weave films produced by National Dance Company Wales.

Idrissa Camara
Born in Guinea Conakry in West Africa, Idrissa trained from a young age with the renowned Ballet Bassikolo du Guinee. He has been principal choreographer with many leading dance companies in Guinea and Senegal and pioneered the teaching of dance to the hearing impaired at the Visual Theatre Company of the National Association of Sports and Culture for the Deaf. In 2010 Idrissa, who is also a musician founded Wales’s only professional Black dance/music company, Ballet Nimba. His innovative ideas have taken the UK by storm and with his direction, Ballet Nimba has combined traditional dance roots with dynamic young performers and an original musical score. Idrissa has curated many successful productions throughout Wales and beyond.


Rosanna Carless
Rosanna grew up in Aberystwyth before moving to Bristol and eventually London, where she fell in love with street dance and breakin’. After joining a number of street dance crews, Rosanna battled as a solo B-girl at events and conventions, winning third place in ‘London’s best street dance crew’. Rosanna has since worked with companies such as HSBC and Sony as well as with musical artists such as Giggs, STylo G and Wiley. Rosanna returned to Wales to have her son, and studied to become a Bwy yoga teacher. Rosanna still teaches dance regularly, and has toured with educational and street dance performances, and worked on the Lead creative scheme projects as well as joining National Dance Company Wales as a Dance Ambassador.
@warriorprincessrosa


Gundija Zandersona
Gundija Zandersona is a Latvian performer, choreographer and an educator based in Wales, Cardiff.
As an executive director of Kokoro Arts Ltd and an independent dance artist she works across a variety of genres including work for families and young audiences, spoken text and movement, physical theatre and contemporary dance. Trained in Latvia, Denmark and the UK, she has been working internationally for the last 6 years creating and reviewing performance works.


Sizwe Chivito
Born in Harare, Zimbabwe, Sizwe ‘SZWÉ’ Chitiyo is a 23 year old singer, rapper and songwriter based in South Wales. After starting his music career professionally 4 years ago, Sizwe played acoustic sets around South Wales before venturing into electronic production 3 years ago. Having achieved Spotify Playlisting, National Radio Play and a new Project Manager role for Beacons Cymru, his goal now is to build a hub for Urban Music to thrive in Wales and produce a new wave of sound.

Jeferson Lobo
Musician, composer, and producer Cardiff-based Brazilian-born Jefferson Lobo has been working on his compositions and arrangements for the last couple of years and will be releasing music from his catalogue throughout the year. Jefferson’s compositions are an invitation to a world of unpredictably sonic possibilities, hauntingly sweet harmonies combined with soothing and (at times) witty melodies, form the basis for his musical cauldron which included styles such as jazz, orchestral, Latin, reggae, futuristic, and world music. He has worked with August 012 (theater company), on BBC radio productions, has written, scored, and arranged music for the Butetwon Carnival 2020 and 2021 with special highlights to his transatlantic piece called ” Zamba ” commissioned by BACA


Seun Babatola
A.K.A Mista B is a musician, lyricist and socially conscious rapper.  Born in Nigeria, he spent the first few years of life in Cardiff, then lived in Ibadan (Nigeria), London and Birmingham, before returning to Wales. His musical tastes vary from break-beat to metal to trip-hop, and he believes, at heart, that genre is simply a veneer. Real music will reach out, regardless of the style.  Perfection in substance, not presentation.


Eric Martin Kamosi
Eric Martin Kamosi is a guitarist, electronic musician and composer who creates folk, rock, concrete, electronic and minimal music using a variety of instruments, field recordings and electronic sounds. He has written and performed for professional dance and physical theatre and created music installations, sound design, algorithmic compositions and music for live instruments as part of a BA (Hons) ‘Creative Sound and Music’ degree from the University of South Wales and a Master’s degree in ‘Digital Composition and Performance’. Having taken part in a media composition traineeship and created music for screen and live theatre, Eric continues to be interested in working with artists from a wide range of disciplines.


June Campbell-Davies
June is a Cardiff Based Dancer, Choreographer and Carnival Artist. She trained at the Laban Centre for Movement & Dance in London before working with Moving Being Mixed Media Theatre Company, Dance Wales, Cwmni Dawns Gwylan, Welsh Independent Dance and Cwmni Whare Teg. June then taught at Royal Welsh College of Music & Drama, Cardiff Metropolitan University and for Rubicon Dance, where she taught for their community, arts and health and education strands. June has also worked collaboratively as a singer and sound artist on a number of albums as well as being a consultant & facilitator with Butetown Carnival and has worked on several community projects involving dance in schools, documentary videos and at Hospitals.

June continues to perform, for Striking Attitude Dance Company for senior performers and works with Oasis One World Choir leading movement sessions with Refugee & Asylum Seekers. In May 2021 June was selected for an R & D commission to create a site specific body of work for Artes Mundi 9.

Kitsch & Sync
Taking inspiration from all things retro, vintage and wonderfully absurd, Kitsch & Sync Collective is immediately recognisable by their innovative brand of curiously quirky dance theatre. Taking fashions, fads and toe-tapping tunes, to create an infectious blend of highly visual choreography , colourful characters and a dressing-up box bursting with enough vintage clobber to make your gran proud! Kim Noble and Kylie Ann Smith fuse different dance genres, unusual props and a dash of audience interaction to bring you something truly unique. Kitsch & Sync was set up in 2011 and have built up a reputation for itself as one of Wales’s most exciting, original and eclectic companies. 

If you recognise the name, it may be because you have seen the trio perform at the award-winning Festival Number 6, Green Man Festival or at the Edinburgh Fringe. Perhaps you spotted them at The TATE Britain as part of the David Hockney exhibition, dancing in Goldie Lookin Chain’s music videos or Jarvis Cocker’s DJ set, or you may have seen their picture on the front of The Sunday Times and in the Guardian. You may have danced your socks off at one of the group’s popular electro-swing hop dance classes or at the Depot’s infamous Bingo Lingo nights! Their alter-egos, The Lampshade Ladies, also made a surprise appearance on BBC Two’s Have I Got News for You. This may even be your first venture into the curiously quirky world of Kitsch & Sync. Either way, you’re in for a treat.

 These ferocious females have a large repertoire of small scale outdoor shows, full length theatre and circus Shows and a plethora of walkabout characters that have been performed all over Wales, UK and now internationally. They have received funding from Arts Council Wales, National Theatre Wales, the Millennium Centre- Blysh Festival, Coreo Cymru, and commissions from Articulture and festivals such as The Big Splash, Wilderness, Kendall Calling, Appetite ‘The Homecoming’ – Circus 250 and toured with the Northern Touring Network, as well as various arts festival across the UK and beyond. Kitsch & Sync are also represented by a London agent- Contraband and have performed in clubs, warehouses, cafes and shop windows (amongst many other unusual spaces!).

E11ICE
E11ICE is the alter-ego of Cornwall born Cardiff based multi-genre singer and rapper Thalia Ellice Richardson. A core member of Cardiff based community initiative Ladies of Rage Cardiff E11ICE’s inimitable live performances have made her an integral feature of any Ladies of Rage live showcase. Melding thoughtful melodies with conscious lyrics E11ICE’s music reflects her journey through each day making the ordinary extraordinary. E11ICE’s live performances range from stripped back sets on the mic to full jazz band productions each time E11ICE steps to the stage she seeks to bring something fresh to her audience.

Dance

Artistiaid wedi’u cadarnhau ar gyfer cyfres ffilmiau byrion gydweithredol Tŷ Cerdd a Chwmni Dawns Cenedlaethol Cymru.

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Bydd Cwmni Dawns Cenedlaethol Cymru a Thŷ Cerdd yn gwneud pum ffilm fer gan gydweithio â chrewyr cerddoriaeth ac artistiaid dawns sy’n byw neu’n gweithio yng Nghymru, mewn cyfres o’r enw Plethu: affricerdd.

Mae Tŷ Cerdd wedi comisiynu pum crëwr cerddoriaeth o dras Affricanaidd sy’n byw ac yn gweithio yng Nghymru, fel rhan o fenter gydweithredol â Phanel Cynghori’r Is-Sahara. Mae’r ffilmiau’n rhan o affricerdd, un o geinciau Tapestri, menter newydd (a ariennir gan raglen Cysylltu a Ffynnu Cyngor Celfyddydau Cymru) i greu archif gerddorol fyw o bobl, ieithoedd a chymunedau Cymru.

Yn ôl Deborah Keyser, Cyfarwyddwr Tŷ Cerdd: “Gwefr arbennig i ni yw cydweithio â CDCCymru ar Plethu:affricerdd. Mae prosiect Plethu CDCC gyda Llenyddiaeth Cymru wedi bod yn gymaint o ysbrydoliaeth ac mae’r cyfle i greu partneriaeth newydd rhwng crewyr cerddoriaeth ac artistiaid dawns yn cynnig gorwelion artistig newydd bendigedig.  Pleser o’r mwyaf i ni yw cyhoeddi’r parau – mi wyddon ni’n ddi-os y bydd y canlyniadau’n plesio.”

Mae Cwmni Dawns Cenedlaethol Cymru wedi comisiynu’r pum artist dawns o unrhyw ddisgyblaeth i gydweithio â’r pum crëwr cerddoriaeth hyn i wneud ffilmiau byrion neu fideos cerddoriaeth gwreiddiol. Hyd yma cafwyd 15 o ffilmiau Plethu y gellir eu gwylio am ddim ar yr hyb digidol ar wefan CDCCymru.

 “Rydyn ni wrth ein boddau cydweithio â Thŷ Cerdd ar Plethu: affricerdd, esblygiad pellach yn y prosiect Plethu sydd erbyn hyn yn paru artistiaid dawns â chrewyr cerddoriaeth. Mae prosiectau â chydweithredu’n ganolog iddynt yn rhan o’m huchelgais a’m gweledigaeth i CDCCymru ac mi ydw i’n edrych ymlaen at weld canlyniad y partneriaethau hyn ar draws ffurfiau ar gelfyddyd yn y pum ffilm newydd.” Matthew Robinson, Cyfarwyddwr Artistig, CDCCymru.

Rhyddheir y ffilmiau rhwng mis Ionawr a mis Gorffennaf 2022. Dilynwch @ndcwales a @TyCerdd_org am y dyddiadau rhyddhau. Y pum partneriaeth Plethu: affricerdd yw:

Idrissa Camara ac Eric Martin Kamosi
Gitarydd a cherddor electronig yw’r crëwr cerddoriaeth Eric Martin Kamosi sy’n creu cerddoriaeth werin, roc, diriaethol, electronig a minimalaidd gan ddefnyddio amrywiaeth o offerynnau, recordiadau maes a synau electronig. Hyfforddodd Idrissa o oedran ifanc gyda’r enwog Fale Bassikolo du Guinee. Ef fu’r prif goreograffydd gyda llawer o gwmnïau dawns blaenllaw yng Ngini a Senegal ac yn arloeswr wrth ddysgu’r ddawns i’r rhai sydd â nam ar eu clyw yng Nghwmni Theatr Weledol y Gymdeithas Genedlaethol Chwaraeon a Diwylliant i’r Byddar.


June Campbell Davies a Seun Babatola (A.K.A Mista B)
Cerddor, awdur geiriau a rapiwr sy’n gymdeithasol effro yw A.K.A Mista B. Amrywiai ei chwaeth gerddorol o frêc-bît i fetel i drip-hop ac mae’n credu yn y bôn mai dim ond haenen sgleiniog yw genre. Dawnswraig, coreograffydd ac artist carnifal o Gaerdydd yw June. Mae hi hefyd wedi gweithio’n gydweithredol fel cantores ac artist sain ar sawl albwm yn ogystal â bod yn ymgynghorydd ac yn hwylusydd gyda Charnifal Butetown.

Kitsch n Sync ac E11ICE
Hunan arall yw E11ICE y gantores a rapwraig amlgenre a aned yng Nghernyw ac sy’n byw yng Nghaerdydd, Thalia Ellice Richardson. Yn cyfuno alawon a geiriau meddylgar ar lifau grymus, mae cerddoriaeth E11ICE yn adlewyrchu ei siwrnai drwy bob dydd gan wneud y cyffredin yn anghyffredin. Gan dynnu ysbrydoliaeth o bopeth sy’n retro, vintage a rhyfeddol o wirion, mae rhywun yn nabod menter gydweithredol Kitsch & Sync yn syth wrth eu brand arloesol o theatr ddawns hynod a difyr.

Rosanna Carless a Sizwe Chitiyo
Wedi’i eni yn Harare, Zimbabwe, canwr, rapiwr a chyfansoddwr caneuon 23 oed yw Sizwe ‘SZWÉ’ Chitiyo sy’n byw yn ne Cymru. Ar ôl dechrau ei yrfa gerddorol yn broffesiynol 4 blynedd yn ôl, byddai Sizwe yn chwarae setiau acwstig o gwmpas Cymru cyn mentro i gynhyrchu electronig 3 blynedd yn ôl. Maged Rosanna yn Aberystwyth cyn symud i Fryste ac, yn y pen draw, Lundain lle y syrthiodd mewn cariad â dawns y stryd a brêcin.
Ar ôl ymuno â sawl criw dawns y stryd, bu Rozanna yn brwydro fel B-girl unigol mewn digwyddiadau a chonfensiynau gan ennill y trydydd lle yn ‘Criw Dawns y Stryd Gorau Llundain’. Ers hynny mae Rosanna wedi gweithio gyda chwmnïau fel HSBC a Sony yn ogystal â chydag artistiaid cerddorol fel Giggs, STylo G a Wiley.

Gundija Zandersona a Jeferson Lobo
Wedi’i eni ym Mrasil, cerddor, cyfansoddwr a chynhyrchydd yw Jefferson Lobo sy’n byw yng Nghaerdydd. Gwahoddiad yw ei gerddoriaeth i fyd o bosibiliadau sonig anrhagweladwy: cytseiniau melys wedi’u cyfuno ag alawon llyfn a ffraeth sy’n ffurfio sylfaen ei bair cerddorol, gyda phinsiad o gerddoriaeth jazz, gerddorfaol, Ladin, reggae, ddyfodolaidd a cherddoriaeth fyd. Perfformwraig, coreograffydd ac addysgwraig o Latfia yw Gundija Zandersona sy’n byw yng Nghaerdydd. Fel cyfarwyddwr gweithredol i Kokoro Arts Cyf. ac artist dawns annibynnol, mae’n gweithio ar draws amrywiaeth o genres gan gynnwys gwaith i deuluoedd a chynulleidfaoedd ifainc, testun llafar a symudiad, theatr gorfforol a dawns gyfoes.

Bydd dwy ffilm arall a wnaethpwyd ar y cyd â Llenyddiaeth Cymru ac sy’n cyfuno barddoniaeth a dawns yn cael eu hychwanegu at y pum ffilm yma a wnaethpwyd mewn partneriaeth â Thŷ Cerdd i gwblhau trydedd gyfres o ffilmiau Plethu i’w cynhyrchu gan Gwmni Dawns Cenedlaethol Cymru.

Music, Opera & classical

Music Theatre Wales and Opera Philadelphia to share bold digital work that redefines opera for our times.

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Following the successful 2019 co-commission and co-production of Denis & Katya by Philip Venables and Ted Huffman, the two companies are sharing new digital pieces created by Black, Asian and global majority artists. Commissioned in parallel, Music Theatre Wales and Opera Philadelphia’s digital programmes propel our genre forward, identifying outstanding artists and presenting innovative new work that celebrates the multi-cultural world in which we live.
New Directions, a new commissioning programme created by Music Theatre Wales, was brought to life with a series of three digital collaborations from artists new to opera. These pieces will stream on the Opera Philadelphia Channel beginning Wednesday 1st December. Led by Artistic Associate Elayce Ismail and Director Michael McCarthy, New Directions questions what opera is and what it can be by commissioning and working with artists who bring new musical perspective and previously untold stories to opera.


The New Directions pieces are:


The House of Jollof Opera by Tumi Williams and Sita Thomas
Pride (A Lion’s Roar) by Renell Shaw and Rachael Young with animation by Kyle Legall Somehow by Jasmin Kent Rodgman and Krystal S Lowe
In exchange, Music Theatre Wales audiences will gain exclusive access to three of Opera Philadelphia’s digital works:
THEY STILL WANT TO KILL US
By Daniel Bernard Roumain
An uncensored aria performed and composed by Daniel Bernard Roumain. Featuring mezzo-soprano J’Nai Bridges and directed by multimedia artist Yoram Savion. This piece commemorates the centennial of the 1921 Tulsa Race Massacre, originally created to mark one year since the murder of George Floyd.

SAVE THE BOYS
By Tyshawn Sorey

Inspired by “Save the Boys,” an 1887 poem by abolitionist, writer and Black women’s rights activist Frances Ellen Watkins Harper, performed by the outstanding countertenor John Holiday and pianist Grant Loehnig.

CYCLES OF MY BEING
A song cycle that centers on what it means to be a Black man living in America today, by Tyshawn Sorey with lyrics by MacArthur Fellow Terrance Hayes and superstar tenor Lawrence Brownlee, who sings the piece.

These works will be available via a unique link on MTW’s website, also starting on 1st December 2021Elayce Ismail, artistic associate, Music Theatre Wales said: “There are so many barriers to working in opera, and also to accessing it as an audience member, from the perception of what the art form is and who it is for, through to access to training. New Directions aims to chip away at some of these barriers and revitalise what opera can be, who makes it and who it’s made for. Opera is such a dynamic art form and I think it can absolutely resonate with contemporary audiences, but to do so it needs new artists and new ideas to invigorate, challenge and develop it. For New Directions we’ve brought together three brilliant pairs of collaborators, who each bring different creative practices to the mix, and who have been generous and inquisitive in our discussions about the potential of opera. It’s been wonderful seeing how each of our creators has embraced the challenge, and the added element of creating work remotely for digital audiences, to make three unique and compelling new operatic works.”

Michael McCarthy, director, Music Theatre Wales said: “MTW has been a force for change and development in opera in the UK, and we are thrilled to partner with Opera Philadelphia, a company renowned for embracing innovation and developing opera reflective of our time. By sharing our New Directions digital commissions with an international audience we hope these original pieces created by Welsh and UK artists will contribute to the evolution of our artform. At the same time, we will be offering UK audiences an opportunity to see three powerful new pieces from Opera Philadelphia that I believe resonate with the work we are making through New Directions.

Our two companies first partnered on Denis & Katya by composer Philip Venables and librettist Ted Huffman, and through that experience we recognised that we shared a mutual desire to give opera a bit of a kick, questioning the way it is written and how it is produced and perceived. I have been impressed by Opera Philadelphia’s digital commissions released over the past year and by their ability to bring new voices to the art form and to deliver remarkable and memorable experiences, and this partnership will allow our shared audience to consider all these digital works in a broader context. The world has changed and so must we. If we want to reach new audiences and stimulate wider interest in the creation of new opera with the huge potential it has, we need to be working with artists who can lead us in new and unexpected directions.”

For more information on accessing Opera Philadelphia’s work, visit https://www.musictheatre.wales/

Musical

Review Heathers The Musical, Wales Millennium Centre by Anna Arrieta

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out of 5 stars (2 / 5)

If you are a Musical Theatre Fanatic, you will love Heathers.

Heathers the musical is based on the 1988 cult movie, which follows Veronica Sawyer as she is taken under the wings of the most popular girls in school. On her journey to becoming popular, she meets the mysterious JD, together they end up going on a killing spree that gets out of control.

The first thing I will say about this production is how different it is to the movie. In the film, Winona Ryder and Christian Slater (Veronica and JD) bring a dark edge, and a creepy sense of impending doom to each scene. The writing and adaptation for the stage seems to take away the edge in Veronica’s character, she comes across as geeky and rather desperate. Rebecca Wickes played the role of Veronica and her vocals really shone, her range was phenomenal and it was an amazing experience listening to this highly skilled vocalist perform live.

Another incredible performance was give by Mhairi Angus who played Martha. Her solo song, “Kindergarten Boyfriend” really stood out to me and she had the audience completely engaged with her amazing voice.

Another difference between the stage show and the movie was the re-appearance of characters who had been killed off. Maddison Firth who played Heather Chandler really brought something quirky to the role, she was sassy, fiery, and energetic. Her consistent strong presence throughout the show was a clever way to guide us through the story and maintain the elevated energy of the production. Having the dead characters return to the story, acting as ghosts or images in Veronica’s head was an interesting turn of events, however I felt that this did mean the darker themes of the story were sacrificed. I think I would have preferred to see the spookier elements explored a bit more overall, as I think it would be interesting to see how the scary scenes would reflect from screen to stage. Some may argue that this would have made the show less family-friendly, however the show already had racy scenes, and personally I feel some of the dialogue was quite dated and overstepped the mark. The musical was set in America in the late 80’s, however I think they could have adapted some of the language to suit a more contemporary audience.

The production as a whole was phenomenal and one of the most professional and visually impressive shows I have seen in a long time- to the same standard as productions in the West End. The slick choreography was brilliant, the set worked really well, and the spacing and direction of the actors on stage never left us without something to look at, while at the same time not being too busy or confused. The lighting was impeccable, colourful, and fun. It did an amazing job at bringing the production to new heights, and directing us as an audience to focus on those important moments on stage. I particularly loved the red, green and yellow spotlights used to highlight the presence of the Heathers.

I must admit I think Heathers was a bit too Musical Theatre for me. However, it was an extremely tight and professional production, which I would highly recommend to lovers of Musical Theatre.

Musical

Review Heathers The Musical, Wales Millennium Centre By James Ellis

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out of 5 stars (2 / 5)

I’ll confess I’m late to the cult of Heathers, the film from 1988. Written and directed by Daniel Waters, this is a nasty, cynical look at the American high-school where teenage suicide, life defining cliques and a world full of oblivious parents reign supreme. It remains a lot of fun. Yet, this doesn’t really feel like this darkly tinged experience would make a great musical. Seeing it on stage with show-stopping tunes and chorus lines drains away the bite the original film is well known for. I know what they’re going for and it is just not working.

It’s hard not to compare the show to the film (I only saw the it the night prior) especially when choices are made in the musical altering minor aspects of the story. I didn’t expect the musical to open and close with Que Sera, Sera like in the film, though there are some missed opportunities here. Veronica singing with her clothes on in the high school showers is an example and the great little role of Father Ripper is no where to be seen in the musical. For some reason J. D. rumbles with the jocks has no gun on stage, leaving room for slow motion stage combat, as Veronica our lead declares her love for this mysterious boy. Any one would be an improvement from Christian Slater and here Simon Gordon has those familiar musical vocals and works well. It’s an unsavoury role today, as he essentially becomes the prototype of a school shooter/domestic terrorist, black trench coat and all.

This is a very quotable film and some of the lines in the show felt throwaway. Heather Chandler played by an affirmed Maddison Firth gets most of the juicy lines and quasi-rock numbers. Her return after her death to taunt Veronica is a pleasing addition. The songs by Kevin Murphy and Laurence O’Keefe border on the generic, some attempts being made to emulate the era the story is set in. I found the second act had more of a tense impact in the songs. The opener to act two being My Dead Gay Son, an absurd number here sung by Andy Brady and Kurt Kansley as the warped fathers of jocks Kurt and Ram. What let down the song was the forced romance between both dads for no real reason. Following on is a lovely little ballad Seventeen sung by Veronica and J. D. getting a pleasing final few lines, as this twisted romance blossoms.

The jocks in question are here played by Rory Phelan as Ram and Liam Doyle as Kurt. These two have a lot going for them, with as much time spent in the gym as they did in rehearsals. The only gripe is that the stereotypical jock character gives them very little to work with. The element of homoerotic tension is implied when we see them back as ghosts, clad in just their tighty-whities, clutching croquet mallets. Rebecca Wickes gives off more Hairspray than Heathers vibes throughout, though I like her speed in the role and little tics she had. Merryl Ansah as other Heather Duke, comes into her own when the other Heather dies with her own number Shut Up No More.

Martha Dunnstock is taken on by Mhairi Angus. By far the most bullied person in the school, her song before her attempted suicide by jumping off a bridge (in the film she walks through traffic) Kindergarten Boyfriend, a sweet and touching moment for what’s about to happen. Lizzy Parker playing another one of the Heather McNamara, not really in this enough though another touching song sounds out, brining some honest feelings about all thats going on around her. Georgina Hagen as the insipid Ms. Fleming bursts onto the stage in the giddy role, where it’s more about the cameras on her and the kids than about the real tragedies befalling the town. She brings a male audience member up form his seat for no real reason and ad libs for a moment. A cheap laugh ensues.

Andy Fickman’s direction might not be as tight as it should be here. The sets of David Shields shows Westerburg High in a very uninspired way, never feeling like it has much weight. Lighting by Ben Cracknell has moments of inspiration, lighting each of the Heathers gang in their own livery was a nice touch and some moments of disco dance also brought smiles.

The point of Heathers is through very poor decisions is there the realisation that true friends were there all along and that lashing out and bullying is never the answer. In truth, the show might have not really focused on this as much as it should have.

Heathers runs at the WMC till 4 December 2021.

James Ellis

Dance

Supporting Dance in Wales, Richard Chappell Dance, currently have three active call outs for Dance Artists.

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Supporting Acts Commissioned Choreographer

We are commissioning one choreographer via call out to join the first selection of early career artists on our Supporting Acts Programme. This includes a £2,500 R and D commission, residency support with our partners, funds for a collaborator, performance programming and year round mentoring. More information: https://www.richardchappelldance.co.uk/support-acts-callout-for-early-career-choreographers?fbclid=IwAR06ywakBamCLVBzs4Nsot8aHfWV3WkoXqteVLRq30wcy-ShiRaiLBMgmnI

Community Champion: Abergavenny

We are recruiting for a Community Champion who has a current or previous connection to Abergavenny to support our local engagement in the region alongside myself and Supporting Acts Choreographer. This will include engagement with Dance Blast and local musicians. More Information: https://www.richardchappelldance.co.uk/community-champion-call-out-abergavenny

RCD Ensemble Dancer

We are currently accepting audition applications for our 2022 season (February-October 22) for dance artists to join our performance ensemble to tour my works Infinite Ways Home and Silence Between Waves. More Information: https://www.richardchappelldance.co.uk/dancer-audition-for-2022-season

Theatre

Review Beauty and the Beast, Theatr Clwyd by Donna Williams

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After over a year of auditoriums sitting dark and empty due to a worldwide pandemic that almost left the industry in tatters, it was all the more poignant and I felt all the more appreciative to be able to attend, for me, the jewel in Theatr Clwyd’s crown, its annual rock ‘n’ roll pantomime, this year it was the turn of Beauty and the Beast!

Upon entering the auditorium, we are greeted with a partly open stage where it becomes clear that the band will be on view throughout the show. However, once the action begins, we see that the cast, are in fact, also the band! Belle goes from sitting on her swing, reading a book to grabbing a guitar, her spoilt sisters Stacey and Nessa flit between hilarious comedy skits to playing keyboards and in a surreal twist we see the Beast rocking out on the drums! The small cast are constantly on stage, unless they are darting off for a quick costume change (or in Wesley Charles’ case, changing seamlessly from Prince Daniel to Beast on stage!)

Ever unique at the rock ‘n’ roll panto are the music choices throughout. The cast always surprises with songs you wouldn’t necessarily expect to hear in a traditional pantomime; Barry Island (the ‘Gaston’ character of the piece) enters singing Uptown Funk, which is hilarious sung in a typical upper class English accent, Beast gives us a beautiful rendition of a slower version of Higher Love and his duet with Belle, Shallow from the remake of the film A Star is Born, is stunning.

Phylip Harries’ Dame is always a highlight; as Nanna Nerys his timing is flawless as ever, his comic delivery spot-on (with a few more saucy innuendos than I remember from previous years!) and his costumes steal every scene, from his entrance as Mary Poppins meets a traditional Welsh Lady to his final costume as a ‘Once Upon a Time’ storybook, complete with microphone pocket!

As always with a Theatr Clwyd panto, the Welsh language is heard plentifully throughout the production with frequent mentions of local places from Mold to Bangor, Buckley to Rhyl! And it is always refreshing not to have Christmas forced upon an audience too early. I am sure as the lead up to the big day gets ever closer, the cast add a more festive feel, but for now, it is nice for the festivities to be downplayed. Oh, yes, it is!

A big ‘wow’ moment in this production comes near the end of the show as Beast explains to Belle that the library now belongs to her, and she can view it by opening a single, magical book. As she opens the book, we see the stage transform; the scenery rotating to reveal bookshelves upon bookshelves, the patterns on the staircase flipping into more books, hanging books descending from the ceiling and open books above our heads in the auditorium lighting up. Breathtaking!

This panto truly is one not to be missed, it takes all the elements of a traditional panto but, for me, adds a touch more class, oodles more talent (how many panto Dames have you seen playing the saxophone?!) and professionalism that is leaps and bounds above any other!

Theatr Clwyd, Mold

November 26th, 2021-January 15th, 2022

Writer: Chris Patterson

Director: Tamara Harvey

Assistant Director: Sophie Duncan

Casting: Kay Magson CDG

Design: Adrian Gee

Musical Director: Tayo Akinbode

Choreographer: Annie-Lunnette Deakin-Foster

Senior Technician: Chris Skinner

Cast includes Izzy Neish, Wesley Charles, Alice McKenna, Maya Manuel, Seren Sandham-Davies, Lynwen Haf Roberts, Luke Thornton, Daniel Lloyd, Phylip Harries, Ben Locke

Running time: 2 hours and 20 minutes (inc. interval)

Beauty and the Beast | Theatr Clwyd

Music

REVIEW LONDON PHILHARMONIC – SEASCAPES AND VISIONS & CRISIS CREATES, ROYAL FESTIVAL HALL BY JAMES ELLIS

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Photo credit: MATHIAS BENGUIGUI PASCO 

 

*** (3 / 5) First Impressions
**** (4 / 5) Seascapes and Visions 

In this first trip back to London, I’ve found a lot of the mood being quite dream like. I’ve covered a lot and seen the sites. In this final evening, I returned to the Southbank Centre for the first time since March 2020. The London Philharmonic Orchestra and their outreach programme with Crisis Creates played their hearts out in this mid week night of music. 

The First Impressions set from Crisis helps to get homeless people from across the UK back on their feet. Through music they have united people to find joy in it and giving them a proper introduction to the performance space. Workshop leader Aga Serugo-Lugo had made wonders with the diverse group of characters who surprised and delighted the fair ones who attended. One male singer had some very interesting pipes and there was a charming ramshackle vibe to the few pieces they’ve been working on for days. They had been inspired by the programme from LPO to follow, though that may not have been obvious aside from the trumpet player mimicking the Debussy Prélude flute opener. Thinking about the way the arts has been effected, more work like this can only make the future more clearer. Well done to all involved. 

Following on was LPO in an all French night. Olivier Messiaen’s Les offrandes oubliées is an early orchestral work and one of note. The markings of his later outrageous and sublimely moving fittings can be heard in and around a piece like this. The strings standout for their agonised entry and departure, framing the piece in an never forgotten glow. The percussion and brass also get their moment in the middle section, full of swipes and jabs, a mostly violent affair and never ceasing to be sensational. 

Our concerto for the night was with cellist Truls Mørk and Saint-Saëns. In his 1st Cello Concerto, I have to admit it does not do a lot for me. There where some strange little moments with the strings feeling quite mischievous, as Mørk seemed pious in his formation. There is charm and grace, but it never stands out. Mørk was quite serious but the playing was what every cells should aspire to. An unknown encore to my ear continued the serious tone in a lot of feeling, the hall quite still for the minutes with him alone. 

A second half was purely Debussy. His Prélude à l’après-midi d’un faune feature the famous flute solo and conductor Klaus Mäkelä was in no hurry in letting the work start in it’s own evocative and sensual way. It’s a perfumed dip into the lovely waters, orchestrated with a fine nuance, never really stoping for anything. La mer is another testament to Debussy’s talents, though I do find my attention is compromised whilst listening. Some shining moments come through, the waves and storms which calm down only to arrive back later make this  fine example of how to composer music about water and the sea in an impressionistic manner, not like Wagner nor Britten who also excelled at sea-inspired scores. Mäkelä seems to be the a beacon of energy, seeming to lose himself in a few moments during the evening. More of this vigour is encouraged. 

Music

REVIEW, 1771 MOZART’S PERSPECTIVE, THE MOZARTISTS, CADOGAN HALL BY JAMES ELLIS

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out of 5 stars (5 / 5)

Returning to see The Mozartists play again comes after seeing them in London a mere two weeks before lockdown. This final event seen in the capital had a lasting impact of me. The quality of musicianship is unbridled. Conductor Ian Page has gone about the leviathan task of getting all of Mozart’s canon performed live, essentially taking decades to complete.

We were treated to three of Mozart’s symphonies (No 12, 13 & 14) at the ripe old age of 15, with genius already on the table, heard in every note. These symphonies are conventional in nature (four movements) but the context of the composer’s age and the impact they have cannot be underestimated. In a pre-concert talk, Page said it’s not just about liking his Jupiter Symphony and I completely agree. Through this remarkable project we’ve had the chance to hear these lesser heard, lesser known pieces and we welcome the change of pace and programme. The fluffy flutes in the 15th symphony were also a welcome addition, quite moving in their arrival.

It’s the gleaming sincerity that is rich in these symphonies, the small ensemble of players really play them as if they have never before, crisp and affirmed. Soprano Emily Pogorelc gave musical offering with his concert aria “Non euro l’affetto” and Licenza Aria (the first version) from Il song di Scipione and “L’ombra de’rami tuoi” from Ascanio in Alba. Emily was a highlight of the evening really showing off some fine vocals, really going for the trills and the pacing of the recitative. You want to hear here in the full opera, no question. There lies a great discovery in Paisiello and his aria “Onde amiche…Smarrita, tremante” from Annibale Torino, an opera Mozart had watched in his early years. It’s swell to hear lesser known composers, even if Paisiello is also known for the original Barber of Seville, though things here are more serious and reflective.

I find this mix of symphony and aria to be very stimulating. Things seem to really work so well when all this comes together. An encore of a Mozart early work written for the church was regal and more sombre feel, still a fine way to end things. I will be back to see The Mozartists as soon as possible!

The Mozartists return to Cadogan Hall on 27 Jan 2022 for Mozart 1772 – A Retrospective featuring the music of Mozart, Jommelli, Traetta, J. C. Bach, Gassmann & Haydn. Featuring sopranos Jessica Cale & Chiara Skerath.