All posts by Gemma Treharne Foose

Communications/PR/Digital. Copy Writing. Valley Girl. Siarad Cymraeg. Japan fan. Roller Derby. Feminist. Cake maker. Lover of all things glittery and theatrical. Mam. Wife to an American. Views personal.
Featured, Theatre, Uncategorized

Review: Calamity Jane, Wales Millennium Centre by Gemma Treharne-Foose 

Leave a comment
out of 5 stars (3 / 5)

A rootin’-tootin’, boot-scooting good time…

For anyone looking for a way to escape the horrors of the 2025 news cycle, may I recommend instead a little excursion to the prairies and saloon bar of Deadwood City in Goldrush-era USA? 

The 2025 touring production tweaks the 1961 stage play, based on the 1953 Hollywood smash musical movie featuring the iconic Doris Day and gives it a little bit of a “modern” touch. You may have memories watching Calamity during holidays, or maybe on a Sunday with your grandparents…you may not know *how* you know the “Whip-crack-away” song or the tune to “Just Blew in from the Windy City”, but even if you don’t remember the movie exactly, the 2025 musical will draw you in for its spectacle. From its cowboys and hoe-downs, to the the Americana bluegrass musicians and the vocal powerhouse that is Carrie Hope Fletcher, there are plenty of story, song and dance nuggets to keep you satiated. 

We meet Calamity, Wild Bill Hickock and a rag-tag ensemble of Deadwood City saloon-goers at the Watermill Theatre, HQ for the production’s story where Director/Choreographer Nick Winston and Director Nikolai Foster first imagined the world of Calamity in 2014. For this production, the production team have added a few extra songs and lost others synonymous with problematic representation or iconography. 

The production does well to navigate some of the awkwardness and “cringe” (to quote my daughter’s favourite phrase) of songs written in an era where men literally imagined the idea, wrote the story, the theme tunes and then staged and directed the show featuring predominantly white men. It’s a bit like watching Little House on the Prairie – it’s almost an absurd parody of the true harshnesses, shocking injustices and brutality of frontier life, but it sure was nice escaping to a fantasy for a few hours. I even enjoyed a song sung by Katie Brown (Seren Sandham-Davies) and Calamity about “A woman’s touch”, where they spruced up the homestead cabin with some tablecloths, patchwork curtains and dried flowers. No trad-wives here though, thankfully – Calamity is whip-smart and there is plenty of sass and energy from Vinny Coyle (playing Wild Bill) and the wonderful Samuel Holmes playing Francis Fryer. Holmes’ comedy chops and comic physicality were a real highlight throughout. 

There were some humorous queer-coded moments which the producers could have leaned into a little more during the scenes where Katie Brown moves in and “runs away” with Calamity Jane. It’s a little “nudge-nudge, wink-wink”, but at least this production has a little more diversity than the man-fest that was the original film. The musicians and ensemble cast mingled about freely providing pace and colour to the script, which at times fell a little flat here and there. Being set in the Wild West with a gaggle of blow-ins, the accents did wander a little “off-piste” at times, but anyone whose watched a production of Guys and Dolls will be familiar with accents oscillating between Noo Yoik and Surrey. It’s all good, clean fun and the cast were great sports and had a great rapport. Huge respect (or should I say Yee-Hawwww!) to Richard Lock for his bow-legged shuffling and toothless gurning as “Rattlesnake” – he really looked the part! 

Centering the entirety of the production in the same Saloon spot may have made sense, but I did find myself wanting to see more more travel, movement and visual interest in the wider set, which could perhaps provide more of a sense of place of the vast rolling plains and prairies where Calamity roamed. Her stagecoach excursions are brought to life by straddling the saloon pianos and chairs, spinning umbrellas, wheels and the two tapping coconut shells for horses hooves. It’s a nostalgic, good time romp through some of Hollywood’s most enduring musical classics and Carrie Hope Fletcher’s voice is truly beautiful. The production finished with an audience rendition of the Black Hills of Dekota, a hoedown reprise and joyous soft-shoe shuffling, spins (and – spoiler alert – there’s a double wedding). Well it was written in 1953 don’t forget…


There’s plenty of life in Calamity Jane and her musical / film iterations – It would be wonderful to see a Hollywood biopic of the real Calamity. Her letters and diary to her and Wild Bill’s daughter Janey in the 1800s were found to contain a true glimpse of her life and character. The songs only tell part of the story. But in the meantime, the stagecoach, Wild Bill and Calam will be in Cardiff til they “Whipcrack Away” on the March 15th. So if you’re fancying a hoe-down and a Sarsparilla, with the gang you’d better saddle up….

Calamity Jane at the WMC – Book here (closes 15th March)

Featured, Film & TV, Music, Musical, Theatre

Review: Everybody’s Talking About Jamie by Gemma Treharne-Foose

Leave a comment

out of 5 stars (4 / 5)

Press Night 23 October 2023

“A riotously upbeat tale for our times….” 

Everybody’s Talking About Jamie (playing at the WMC until the 28th October) has had a meteoric success since the original documentary about 16 year old Jamie New (who wants to be a drag queen) was introduced to us on our TV screens in 2011. Since then, we’ve seen a musical, an award-winning world tour and a movie starring Richard E Grant and Sharon Horgan. Attending the opening night in Cardiff with my teenage daughter, I wondered if the setting of much of the play (in a typically grim British state school) would chime with her or potentially be shot down as a sad attempt by Millennials to capture Gen Z culture…never an easy line to tread!

It’s the kind of premise that would make a Daily Mail reader’s head explode. We have a gloriously camp 16 year old Jamie New who daydreams of stardom as the next big thing in the Drag scene. His accomplice, a Muslim, hijab-wearing Pritti Pasha (Talia Palamathanan) is his best friend and wing-woman. Supporting his bold and some might say outrageous career aspirations while maintaining her own moral and religious code, the friendship represents the kind of unity and integration that we all wish for. This is never too forced, or too jarring in its earnestness. Talia Palamathanan’s voice is absolutely sensational and her solo number ‘It means beautiful’ (by Dan Gillespie Sells) is stunningly delivered and I saw multiple folks around me wiping away the tears at the end of the number.

Huge credit for first-class character work and rapport with the audience must go to Shobna Gulati as Ray and stand-in Georgina Hagan (who was replacing Rebecca McKinnis as Jamie’s Mum Margaret New the night I attended). Georgina’s two solo tracks “If I met Myself Again” in Act 1 and “My Boy” in Act 2 were truly some of the best numbers in the show. Georgina’s vocals gave me goosebumps and although I’m not usually a fan of sequences with contemporary dance peppered into some scenes, Georgina’s emotional delivery took the whole scene to the next level. The dancers accompanying her were superb – it helped to tell the story and made Georgina’s incredible vocals even greater.

Some of the set-up for Jamie’s big reveal may remind you of Billy Elliott (young Northern lad overcomes toxic and stifling masculinity and a troubled father-Son relationship to follow his dreams, plucky ‘Diamond in the rough’ family members will rally around to support him when it really counts, etc etc). But this show, though perhaps formulaic in places, manages to simultaneously pack in a great story, outstanding choreography, quality songs and a great set. I wasn’t a huge fan of the visuals on the screens behind the stage set – it made the overall look and feel a little ‘commercial-like’ or trying to be like MTV or a swishy campaign when the action and performance on stage really is enough to carry the show…no glossy brand-like photography needed!

Hot on the heels of the incredible Layton Williams who played Jamie New in 2019 (and is now fox-trotting across our screens in BBC’s Strictly), is Ivano Turco. Ivano’s performance as Jamie is spectacular. Sometimes when you listen to the original soundtrack to popular musicals, it can feel like it’s not possible to improve on this ‘original recipe’ – and no disrespect to anyone on the original soundtrack but Ivano’s silky smooth voice is like honey. His approach to the songs is beautifully soulful and his relationship and interaction with Georgina Hagan as his Mum was lovely.

My daughter and I LOVED this show. We listened to all the songs again on the drive back home and we’ll be closely following Ivano’s career – he’s destined for a glittering future. This is a gloriously upbeat tale for modern times and it’s a dopamine booster. Highly recommend it!

Film & TV, Literature, Theatre

Review: Life of Pi, Wales Millennium Centre by Gemma Treharne-Foose

Leave a comment

out of 5 stars (3 / 5)

Press Night Oct 18th 2023 

‘A visual feast…’

Those who watched Ang Lee’s film adaptation of Yann Martel’s 2001 novel will be familiar with the premise of Life of Pi. A young 16-year old boy from Pondicherry in India is launched into an epic adventure as the ship carrying his family and their zoo to a new life in Canada sinks – and he finds himself adrift in the ocean with only a fearsome Bengal tiger for company. 

Through the prism of Pi’s recollections later in a hospital ward, we hear how he survives 227 days at sea – and how the narrative which we come to believe – as bizarre and hallucinogenic it seems – is later completely turned on its head. 

This is a story exploring themes of religion, the complexities of people, the sanctity and sentience of animals and the sheer will to survive. The degree to which this stage adaptation adds to or takes away from both the book and Ang Lee’s film adaptation is up for debate, however. 

Previous reactions to the stage tour all seem to touch on this production being a “visual feast” or “an incredible visual adaptation”, “aesthetically pleasing” or that the puppeteers and animals steal the show. This is most certainly true – the production’s stunning set, magical special effects and masterful puppetry will wow the senses and pack a visual punch. 

But some of the book and film’s deeper delves into the philosophies of the human experience and the hypocrisies of religion are lost somewhat in this truncated stage adaptation. Speaking for myself and my father, seeing this stage show for the first time, we found ourselves disliking and feeling upset by some of the depictions of animal suffering. Truth be told, we can’t even stomach David Attenborough’s programmes these days.

This unease mind you, is probably a sign of the incredibly well-executed puppetry and choreography by the team. This did remind me also of the discomfort I felt watching Ang Lee’s film. So absorbed was I by the idea that the animals were suffering, I probably missed some of the intended broader points of the story. The highlight of this production, then becomes focused on the mode of delivery of the story rather than the story itself. Because the plot is pretty harrowing and – to quote a former colleague of mine who I bumped into in the show’s interval: “pretty grim”. 

This is not a stage show that will not exactly elevate or lift you as some productions can. It illustrates the difficult line writers and directors tread in that no creative really wants to spoon feed their audience and only serve up neat and today tales in a pretty little bow. But in the quest to make us think and engage us with what’s going on via the mechanisms of the stage production, we lose the potential to get under the skin of the characters and get to know them well. The characters become pawns for pondering the story, rather than characters you truly care about. Life of Pi is also an exploration of the stories we tell and how they come to form part of our “truth” – and as an audience you’ll be confronted with these idiosyncrasies in live time, preferring one version of “truth” over another. 

As an audience, we become desperate for those light moments of relief when Pi makes a quip, when the stars come out, when the glowing wiggly fish arrive because we’re reminded of the moments of light relief and beauty in a world that can be truly depressing and awful at times. As Pi tells Ms Okamoto in the hospital ward: “I’ve had a TERRIBLE journey…” 

Life of Pi in 2023 hits differently. You’ll think about how some things never change. When Pi’s family flee India due to the dangerous unrest (supposedly echoing Indira Ghandi’s 1976 declaration of “The Emergency”), you’ll ponder the plight of others in the world who now face becoming refugees in hostile territories, as we see playing out when the family are treated poorly by crew and passengers on route to Canada. 

Huge congratulations and oceans of praise must go to the energetic and engaging Divesh Subaskaran playing Pi. His physicality and presence in the lead role is stupendous, leaping from one side of the boat / bed to the other and embodying all of the trauma, hope and mania of Pi during his tumultuous journey across the sea. His stamina, his powerful voice, warmth and wit shine through even in the bleakest of times. You are rooting for him from the very beginning and willing for his terrible story to take a turn for the better. The chemistry and rapport between Divesh and Keshini Misha playing Pi’s sister Rani is sweet, offering up a ray of hope ahead of the family’s ill-fated journey. 

Finally, the purveyors of the visual magic in this show have to be set and costume designer Tim Hartley, Puppetry and Movement Director Finn Caldwell. The lighting, visual effects and projections in this production are wonderful thanks to Andrzej Goulding and Tim Lutkin. 

Life of Pi may not be an easy watch – but it’s certainly a beautiful one.

Musical

Review Les Miserables, Wales Millennium Centre by Gemma Treharne-Foose

Leave a comment

out of 5 stars (4 / 5)

Les Mis in 2022 hits different 

Even if you’ve been effectively living under a rock since the 80’s, you might at least have a passing familiarity with the striking lead imagery for this big-hitting musical. The banner of the iconic young orphan and the red flag waving behind her is a permanent fixture in London’s West End and a mecca for theatre goers.

Les Miserables is one of theatre’s ‘big boys’, you may have never read Victor Hugo’s 1861 novel or even sat through a musical before but between Alain Boubil (Book and Lyrics), Claude-Michel Schonberg’s Music and Cameron Mackintosh’s golden touch as legendary producer, the production’s breakout songs have become synonymous with the musical theatre tradition, a crossover success as the songs (I Dreamed a Dream, Do You Hear the People Sing, Bring Him Home) have continued to catch the imagination of audiences around the world. 

Seeing the show in 2022 hits different, too. When Victor Hugo penned the original story during turbulent times in 19th century France, things were bad. Wages were being driven down and poverty was rife, while profits for industrialists were soaring. Despite a revolution and revolt against the French King, though – the upper middle classes still reaped the benefits. A new Royal King was anointed – but still, workers were suppressed against a backdrop of “enrichissez-vous” (getting rich) under the leadership of Louis Phillipe. Some things never change, it seems.  By the time we get to the song “Look Down” and the pleading chorus of beggars painting a woeful picture of no safety nets, no compassion and no grace for those unfortunate enough to be born poor – you will sadly relate if you are currently living in Tory Britain in 2022. The wealth gap has never been bigger and we’re sliding backwards to 1815, more’s the pity. 

The opening for this show (beautifully staged in Cardiff under the watchful eye of Directors Laurence Connor and James Powell along with Designer Matt Kinley), brings you into the eye of the storm during this era of unrest, as lead character Valjean’s backstory as a prisoner in a chain gang make their entrance. Even as we skip forward to 1823, conditions are still no better – and workers isolate and turn on one another in a vicious “dog eat dog” environment. We’re introduced to Fantine (beautifully played by Lauren Drew) and in time-honoured tradition of my uncanny ability to tear up at the merest hint of a ballad, her rendition of “I Dreamed a Dream” instantly had me in tears. This is a production that is guaranteed to wow you and pack a real punch. The ensemble cast skillfully demonstrates the pressure, the desperation, the cruelty and injustice of this era and the glimmer of hope that can be found in friendships and lovers. 

Despite being one of the “old kids on the block” this is a fairly timeless story and the production still feels fresh, I saw the show twice in one week and once with my teenage daughter. As parents of teenagers will know, it’s not easy keeping a Tik-Toking teen engaged – and this is a meaty show, too with a running time of over 2.5 hours. I won’t lie, it does feel long. It definitely felt long sitting on the fourth level (and very hot, too!), but numb bums and sweaty pits aside, this is a wondrous production. If you’re a sap like me, your belly will flip and you will blub (Oh Fantine!). 

For a show over fourty years old, it probably wouldn’t pass the theatre equivalent of the Bechdel Test, understandable given that this is a male-dominated environment of uprising, war and revolution. The strongest and most complex female role in this production is Eponine and it was a joy to watch Siobhan O-Driscoll shine in this role. I’m not sure if I detected some Scourse undertones to her accent…but it’s lovely to hear some accent diversity on stage. Cosette gets a rough deal as a character, I feel. She is an archetype of a female love interest and sadly her most interesting element to her character happens in the past, while she is under the guardianship of the Inkeepers. Speaking of Inkeepers, they are utterly brilliant on stage and a very welcome moment of light relief. Merthyr’s own Ian Hughes (as Monsieur Therbardier) and his side-kick Tessa Kadler command the stage and offer a riotous turn in “Master of the House”. Finally, we mustn’t forget the two leads Dean Chisnall (as Jean Valjean) and Nic Greenshields as Javert. They already have an exemplary record of theatre credits under their belt and their powerful performances on this tour will no doubt pave the way to more future greatness. I thoroughly enjoyed this show and I can’t believe I waited so long to see it on stage. 

Les Mis is playing at The WMC in Cardiff until 14th January. If you’re getting the new year blues, I recommend a front seat at the French revolution in the 1830’s…bring your tissues…! 

Theatre

Review My Mix(ed up) Tape, Dirty Protest, Duffy’s Pontypridd by Gemma Treharne-Foose

2 Comments

out of 5 stars (5 / 5)

I have to say I wasn’t sure what to expect on a rainy Welsh Wednesday in an ex-working men’s club in Maes Y Coed, Pontypridd. It’s not your usual venue for a bit of theatre, but Pontypridd-born Katie Payne (accompanied by live DJ Glade Marie) took the small, buzzy audience on a rollercoaster ride through the memories and present-day happenings of character Phoebe Phillips. I haven’t always connected with plays written about Valleys characters. They can be a little over-done, a pastiche or caricature of a romanticised myth that can be sickeningly saccharine at times. But this evening’s performance exploring what it’s like to be in the orbit of an ADHD mind was quite possibly one of the best and most relatable depictions of Welsh working class Valleys women I have seen on stage. 

“One of the best depictions of Welsh working class Valleys women I have seen on stage…”

Phoebe is uncompromisingly, restlessly real.  Painfully and honestly so. We skip back and forth between memories and songs and scenes from her childhood, thorough messy confrontations, and the myriad of relationships with friends, families and foes. Valleys folk will all recognise the characters who pop up in ‘Duffy’s’ (but really, this was as true for me of Tonyrefail, just up the road). You’ll meet “Bag-face Linda”, the bouncer with the spade arms, “Pick Me” Caroline, sweet/spiteful Alex and Jamie bloody Richards – the lad’s lad you love to hate. There’s a constant drum beat of frenetic energy brewing from the very beginning, building up to a crescendo of chaos that gets better and stronger as the performance reaches the summit. 

As a family currently on the waiting list for an ADHD assessment and with suspected neurodivergent traits of our own, this really did hit home. My teenage daughter said she thought it was written about her. I thought it could have been written about me, too! The play explores the turbulence of having emotions that are always brimming just below the surface and the ensuing fireworks that leave a host of disappointed faces in their wake. Throughout, main character Phoebe navigates the stigma and grief associated with never ever feeling good enough and of living inside your own head constantly. 

ADHD presents differently in girls of course, and while many ADHD girls perhaps won’t be as disruptive, energetic and borderline violent as Phoebe, all will recognise the panic of being exposed and ‘found out’. There’s a gendered level of shame to confronting and owning anger and the end scene where Phoebe lets her guard down with boyfriend Ben was like a punch in the gut. If it’s exhausting to be with me, imagine what it’s like being me, Phoebe says. But the audience instinctively see that there should be no shame in her realness. There is, in fact – power in her drive, her hyper-focus, her silliness (the beautiful scene where she curls her lip and cuts through the conflict with a single facial expression is sheer perfection). 

I asked my daughter how she felt after the show. “I feel seen” she said…

Neurdivergent or not, this is an absolute must-see. Katie Payne is not only a sharp writer and a gifted performer, but she absolutely NAILS the working class experience of growing up in the Valleys. Throughout this show, there are nostalgic references, witty one liners and great little cameo voices from relatives and members of the wedding party who depict the humour, the claustrophobia and often – the sheer absurdity of the Valleys experience. Sometimes, the stifling yet gripping hold ‘home’ can have on you can be discombobulating. As Phoebe did during Caroline’s wedding, you confront your past, your weaknesses and your failures. TH Parry Williams the North-Walian poet described “home” as being like a dragon’s claw gripping your heart and riffed about resenting the folks you try to leave behind. But in true Welsh “Hiraeth” fashion, you may feel an inexplicable sense of disconnect or loss when you move away. For those of us who were lucky enough to grow up in the Valleys, though, My Mix(ed up) Tape makes coming home to Duffy’s feel like a big warm cwtch. You may feel like you’ve been punched in the feels, but my god – you will bloody laugh, mun.

Theatre

REVIEW: RED BY GEMMA TREHARNE-FOOSE

Leave a comment

out of 5 stars (5 / 5) Unmissable

I hadn’t realised how much I had needed Red until I went to see it. Although primarily a show for young audiences (Age 7+), this is a show that will entice and delight from the get-go. Inspired by Little Red Riding Hood, audiences are drawn into the wonderful world of Amazon-esque delivery couriers Jones and Groves. The two playfully navigate the mysterious woods as they struggle to deliver a special package to a cottage well off the beaten track. Along the way they encounter a curious ‘tree dweller’ chap called Peter.

Actor Connor Allen (who some regular theatre goers might recognise from the Sherman’s ‘Bird’ production) is a great addition to Hazel Anderson and Ellen Groves (who brought us the stunning production ‘The Giant That Had no Heart In His Body’). There is something so watchable and endearing about Allen’s vulnerability on stage that makes him a delight to watch. It’s also wonderful to see more creative brilliance from Director Hannah McPake, co-founder of Gagglebabble whose previous show Wonderman I had enjoyed so much.

Don’t expect big fanciful sets and props here, the magic of this show is the pictures they paint with the stripped-down set. Scaffolding becomes a tree, a cottage and  a bush, pool noodles become spider legs, an old Ikea bag turned inside out doubles as a dung beetle costume. There is wonderful interplay and energy between the cast, who riff off one another and egg each other on.

Audience members are given a ‘special briefing’ on the way in. We are now pigeons and some audience members become involved in the ‘special mission’ itself. We coo throughout the performance and at one point, we all stand up and perform some aerobics. This isn’t just a show about delivering the package and the link with Little Red Riding Hood is almost secondary to the real story of the play. That our fear of the unknown is almost primal, handed down to us by parents or others. The day after the election results (when this play opened), this feels almost intuitively timely.

“Why are you scared of wolves?” one of the characters asks.
Was it the claws and the fangs and the fact they want to eat little children?

As the contents of the package are revealed, the play asks us to ponder the possibility that actually WE are the wolves, that wolves are within us all. Wolves, forests, new places, scary quests that test you and your bravery. All these can be monstrous until and unless you face your fears.

It’s subtle and clever storytelling that weaves stereotypes, myth and legends with the whimsical, silly and imaginative.

They do so incredibly well to blend all elements together in a way which will envelope you until you feel like you’re up on the scaffolding with them.

The quips, gags and clowning that Hazel Anderson and Ellen Groves add to the mix are spectacular. There are no groans or polite chuckles here. Expect gutsy belly laughs and un-self-conscious comments/suggestions shouted out from the little ones in the audience. It feels brilliantly intimate and homespun, like as if your mad aunties are doing a turn in the living room and Nan’s been on the sherry again.

Little audience members will love the montage routine, circus skills, dream beavers and jazz badgers. It’ll all make perfect sense once you have stepped into the forest. Oh…if you can’t find it on the ‘magic map’ that looks like Antarctica, it’s near Tesco Express.

Better than pantomime, with better gags and more imaginative costumes – this is a first-class family experience and definitely not to be missed.

Catch the cast of Red at the Wales Millennium Centre (Weston Studio) until 29th December

Theatre

Review: Cinderella, Riverfront by Gemma Treharne-Foose

Leave a comment

Cinderella, playing now at Newport’s Riverfront Theatre

When it comes to getting in the festive spirit, Newport might not always be the first thought that pops into your head. But Newport’s Riverfront venue was full of festive cheer this week as the City served up the first Christmas Panto of the season – the biggest the city’s arts team has ever staged.

One of eight venues run under the City’s ‘Newport Live’ banner, the Riverfront sits on the banks of the River Usk, and you can glimpse the city’s distinctive red ‘Steel Wave’ sculpture by Peter Finch from the windows of the café and terrace. For Cardiff and Valleys audiences, the Riverfront won’t be front of mind when it comes to theatre and the arts, with the WMC, New Theatre, Sherman and RCT’s Park & Dare and Coliseum venues hosting their own festive programme of new and family favourites. For many round my way, a trip to Porthcawl is an annual tradition that just can’t be broken.

So why go to Newport?

The Riverfront is far from a one trick pantomime horse. I had been before with my daughter to spend our Tempo Time Credits at a family cinema event and had a great experience. The venue has two theatre spaces, a dance and recording studio and ample accessible space to visit its café and hold events and workshops.

It’s position just a few minutes away from the Friar Walk shopping development is also a great way to get in some Christmas shopping and a pre-theatre dinner in walking distance to your show.

One thing you might notice about the Riverfront, though? The staff are great. I mean really great and genuinely interested in you and your experience. It’s something I haven’t noticed as much in some of Cardiff’s more famous venues. Perhaps they don’t have to work as hard for your custom…

That’s not to downplay what others are doing, but I really did notice a marked difference. Riverfront/Newport Live staff greet you, look you, look you in the eye and ask you about your day, ask you your thoughts on the show. There was a definite family feel in this venue that I hadn’t been expecting.

So this year’s show? An impressive turn from some familiar faces to audiences, with Gareth Tempest returning to this year’s performance as Prince Charming (being a former member of the children’s chorus at Riverfront in 2004) and Newport native Keiron Self as Buttons.

Actor Richard Elis (Eastenders, The Bill, Casualty and The Bill) does a fantastic turn as Candy, one half of the awfully endearing ugly sisters alongside Geraint Rhys Edwards as Flossie. Any Welsh speakers who love his silly and sassy Welshie portrayals and skits on ‘Hansch’ will be tickled pink to see his face in the programme.

Elis and Edwards have fantastic energy and sassy pants to go with their comic chops. They don’t even have to be speaking to make you cackle.

Between them and Keiron Self as love-sick buttons, there are plenty of quips, cheeseball lines, puns and innuendo you’d expect to see at the panto – not all of it hilarious, mind! The show’s setting in ‘Newport Bay’ by the sea is interesting and the set and staging is very well done, with the ensemble cast and choreography by Angela Sheppard bringing the show to life. I’d like to have seen more comedy spread to the female cast members as well…the traditional panto format shouldn’t save all the funny nuggets for the men. Trust me, Newport women are hilarious (my Newport family being the case in point!).

There’s a standout scene where Keiron Self is locked out in
the rain and climbs up onto the roof while Cinderella is serenading the crowds.
A beautiful bit of physical comedy. Of course, Cinderella and Prince Charming provide
the schmaltz and the cheese, but their vocals are lovely and warming.

This year’s panto is part of a great 2019/2020 programme and I’d encourage you to consider it for your next night out.

Cardiff gets all the love and attention – it’s time to spread the love! Newport should no longer be the Ugly Sister when it comes to Theatre (ohhhh no it shouldn’t!).

Support your local arts venues, folks – and maybe….consider changing your usual haunt this year for a lovely little panto set in ‘Newport Bay’. Trust me, those Ugly Sisters will keep you chuckling long after the glitter’s been put away in January.

Cinderella is playing until 4th Jan 2020, see more at Riverfront

Musical

REVIEW: CLUB TROPICANA BY GEMMA TREHARNE-FOOSE

Leave a comment

Club Tropicana 

Press Night: 13 Aug 

Wales Millennium Centre

After a long absence from theatre reviews this last year and with the media a toxic cesspit these days, I felt so ready to be entertained. Like, seriously entertained. I have been awaiting the next chance to review something lively and upbeat, like a demonic glitter leopard stalking her pray. Yes, I was so desperately in need of an escape from the grim reality of Britain in 2019, that when news came from our friends in the WMC of a spectacular 1980s musical that harked back to the cheesefest pop era of my childhood, it truly felt like a gift. 

So it’s quite appropriate that in order to share this therapeutic time-warp, I should invite along my older and let’s face it superior older sister. Even though we only really got to know one another when I was already in my twenties, I have always looked up to her. Not least because my earliest fleeting memories of her were when I was a little nipper and she was already in her teens. At this point in the 80s, Wham were still going full pelt and George Michael wasn’t gay yet. My sister had Wham and A-ha posters on her wall and her teenage bedroom was a treasure trove of jewellery – wowwwww, magazines – wowwww and hairspray – wowwwwww.

It was a warm fluffy 1980s memory, a defining moment. Perhaps even stronger than my memories of the more grim aspects of the 80s – miners strikes, recession and poll tax riots. But look – kids need a dream! They need icons! Which is why I once cos-played as Madonna with a friend when I was eight and we called for a boy we both fancied. Back-combed hair. Beads, lace gloves – and a black kohl beauty spot penciled onto our top lips. Papa don’t preach, it seemed appropropriate at the time. It’s not everyone’s cup of tea as an era, but Maggie Thatcher or not, the 80s was epic! 

This was my frame of reference for coming along to the press night for Club Tropicana – I was already buoyed by my love of cheese, the 80s and musical theatre. I must admit I had my reservations about Joe McElderry (X Factor) as lead, but I learned my lesson after judging former X-Factor contestant Lucie Jones before seeing her utterly slay in the role of Maureen in Rent. I was also skeptical about the use of ‘Love Island’ references in the musical’s marketing literature. I might like cheese and pop music but even I have my standards.

The premise of this family friendly show is that a budding young bride and groom get cold feet and take a hiatus ahead of their impending wedding only to – surprise! – find themselves at the same resort where the drinks are free and tans glow. The show is an unapologetic romp through some of the poppiest, cheesiest anthems of the 80s. I wasn’t sure to what degree these anthems could complement or dovetail with the storyline or how the proposed story would hold up…this is something I suffered I mean ‘struggled with’ with at Son of a Preacher Man in 2018. You can love the songs, but if a musical isn’t delivering on the storyline then it will fall on it’s arse. 

So what then of Club Tropicana? 

Let’s be frank. It won’t win any prizes for being clever or original. The characterisation (bar a few stand out examples) is challenged at times by a simple (to the point of dumbed down) script and carosel of smash hits that come so thick and fast, it’s dizzying. It was difficult for me to connect to the characters, some of whom felt like musical theatre stereotypes and perhaps lacking in personality at times. The story hardly allowed for any development of some of the supporting cast’s stories beyond a few lazy jokes.

Imagine Hi-De-Hi mashed up with Mrs Brown’s Boys and a splash of Alan Carr and Eldorado. There are jokes about sex, farting, diarrhoea, being sick. There is humping, there is more innuendo than a Carry On comedy, more ham than a Danepak factory. But while all this stuff may leave an extremely nasty taste in the mouth of the more sophisticated theatre-goer (like the couple in front of me who seemed to have gotten lost on the way to a Chekov play or the ballet and cringed and recoiled with any hint of smut), we were mosty all there to unwind, have fun and enjoy the tunes – like refugees from the toxic wastelands of 2019.

Joe McElderry is hard to dislike and he works his socks off to win over the crowd, he plays the part of super-camp holiday rep Gary and is great fun, getting the audience to their feet and joining in a locomotion-type dance from the get-go. His personality shines through and vocals are super strong. The choreohraphy, costumes and hair – all excellent – one highlight being that gravity-defying quiff on Christine’s sidekick Andrea (played by Tara Verloop).

There are some surprisingly lovely musical arranegements in the show, with a beautifully crafted accoustic version of ‘Take on Me’ being a standout song, performed by lead actors Neil McDermott as Robert and Emily Tierney as Christine. I hate to be predictable but in every musical there is a suporting cast member who lingers in the memory (perhaps unfairly sometimes, given the pressure and scale of task facing the lead role actors). They seem to have a presence that even surpasses the role they embody – carrying with them an effortless ability to shine, no matter how lame or stereotypical the role they play.

For this show, it’s Kate Robbins as hotel maid Consuela – a Spanish trope so tired, they had to bring it back out of retirement. But her physical comedy and impersonations of a raft of 80s stars throughout the show is the backbone of Club Tropicana. For all the dazzling choreography, pretty musical theatre performers and bright lights – you need someone who will cut through the noise and make you belly laugh. More than that though, her impressions of the vocals of Tina Turner, Madonna, Shirley Bassey and even Cilla Black are truly sensational.

In places Club Tropicana was clunky, and yes – it’s possible to eat up so much cheese you are quite tired of it and need to lie down afterwards, but it’s a show that is unashamedly for those of us who remember the 80s as a time when sitting on the floor doing the ‘Oops up side your head’ dance seemed like such innocent fun. It’s nostalgic and warm and you won’t even mind being part of a Butlin’s-style Spanish package holiday experience where you wouldn’t normally be seen dead.

Take your Mam or your mates, listen to Cyndi Lauper in the car on the way down….eat the cheese! You can always have a lie down afterwards….

Theatre

REVIEW: ‘ADDAMS FAMILY: THE MUSICAL’ BY GEMMA TREHARNE-FOOSE

Leave a comment

out of 5 stars (3 / 5)

Anyone growing up in the late 80s and 90s will have a fond recollection of the original Addams Family TV series. Inspired by the creator of the Addams Family comic strip by Charles Addams, the family were a dark inversion of the idealised nuclear American family. What started out as a popular comic strip and TV show snowballed into a staple of iconic popular culture across the entire globe.

The Addams Family creative treatment has now expanded to encompass TV remakes, several films, multiple theatrical productions, and video games. The show has already toured extensively in the UK, with dates at Cardiff’s Wales Millennium Centre, but this time Kinetic Theatre company bring a smaller version of the production to the Royal Welsh College of Music and Drama. The company, headed up by Artistic Director Kris Cowley is a training company for musical theatre for young people aged 16 and over – and has now been relaunched as Kinetic School of Performing Arts.

Their members are at differing stages of their theatrical experience, with many of them acting as mentors for other members to develop their confidence and skills. I overheard Artistic Director Kris Cowley tell another audience member in the interval that they had given one of the lead roles to twelve-year-old Lewys Rees, who was nervous about cutting his teeth on his first production while playing the part of Pugsley Addams, but was being supported and encouraged by his team.

It’s great to see new talent like this emerging from grass-roots groups and being given big breaks often not afforded to those without significant experience with established performing arts schools or academies. In this sense, companies like Kinetic do great work in opening up access to performing arts and removing the barriers people often face. It takes a lot of courage to hold your own at such a young age – but Lewys Rees had a promising voice, which I’m sure will put him in good stead for next year’s ‘Camp Rock’ musical being developed by Kinetic.

The synopsis for the show is good – kooky Wednesday Addams meets a rather conventional (some might say bland and boring) romantic prospect. Chaos follows when she asks her father Gomez to keep a secret about the real reason for inviting her boyfriend Lucas’ family – they are engaged to be married. As Lucas’ Mother and Father descend on the Addams family mansion, tensions build as the Beinekes encounter the macabre Addams family, their dead ancestors, family rivalries and inevitable fall outs when their two worlds collide.

The story lends itself well to a musical format and there’s a generous mix of upbeat songs from a variety of genres to move things along. The ensemble cast (dead ancestors) were superb in amplifying the story and musical directors Liz York and Emma Pawsey have done a stellar job in translating the musical score into strong blended vocals and punchy choreography on stage.

I loved the opening number ‘When you’re an Addams’ and the production is at it’s strongest during the whole-cast ensemble pieces. The segment when the two families sit down to dinner (‘Full Disclosure’) brought to mind Fosse-like choreography and a flavour of the Chicago movie song ‘Both reached for the gun’.

Now for the not so great bits. At such an early stage in their performance experience, the production does lack gloss and finesse in places. Lights seem late to come up after blackouts, the microphones on the actors’ faces pick up sound (breathing and talking) after the actors have left the stage. Gomez’ accent is a little…off….and can be distracting at times, nevertheless – Jack Davies is enviable in his delivery of personable Gomez, his comic timing is great and his execution during the ‘Happy/Sad’ song was sweet.

Georgia Tonge as Wednesday seems unsure of herself at times, yet her accent as Wednesday is impeccable and her vocals are generally good. For me, one of the standout characters was Fester (who I believe was played by Thomas Price the night I was there) – his zany antics and wiry, frenetic physicality bring great energy and pace to the show’s story. A truly charming presence on stage.

The star of the show has to be the poker-faced Zoe Martin who was simply brilliant as Morticia Addams. Sleek and sassy and with a ‘bitchy resting face’ to rival Anjelica Houston, her deadpan demeanor and withering put-downs were as sharp as a tack.

The routine between Zoe Martin and Jack Davies as a tangoing-couple during the song ‘Tango de Amor’ was fabulous. Well done lastly to the superb ‘dead relatives’ who did so much to bring life and zest to this production. My daughter (age 9) was watching you all like a hawk, noticing every facial expression and raise of an eyebrow.

“They’re really good actors, Mom!” she told me during the interval – she’s part of a performance group herself and always keeps a beady eye on the supporting actors in the background. I’d better bring her back to RWCMD to see Camp Rock next year – though I suspect in the meantime she’ll beg me to join Kinetic, because they’ve clearly made an impression on my little Miss!

Keep it up, Kinetic!

Music, Theatre

Review: Alice in Wonderland, Sherman Theatre by Gemma Treharne-Foose

Leave a comment

By: Lewis Carol

Adaption by Mike Kenney

Directed by: Rachel O’Riordan

out of 5 stars (4 / 5)

 

Sherman’s Christmas shows are becoming one of my family’s staple events of the Christmas season. For the second year in a row, their main stage show has avoided an overly ‘Christmassy’ offering (last year’s production of ‘The Borrowers’ was one of our stand out shows from 2017) but despite this, they’ve still managed to inject a large dose of festive fun and frivolity in to the production.

Director Rachel O’Riordan has brought together an all-Welsh cast and it’s great to see some familiar faces who you may recognise from other stand-out productions from the last few years. Hannah McPake (who plays the Queen of Hearts) comes from the ‘Gagglebabble’ duo with Lucy Rivers, who also features in the show’s musical line up. Having seen both Wonderman and Sinners Club with Lucy and Hannah, you know you are in for an off-the-wall experience if they are involved.

I’d also recognised Elin Phillips as the Cheshire Cat/Caterpillar (who I saw in Tom Jones the Musical by Theatre Na n’Og), Alexandria Riley the March Hare/Tweedledum who was absolutely incredible in Fio’s production of The Mountaintop in Cardiff’s Other Room pub-theatre, Keiron Self (The Duchess) who also featured in last year’s Sherman Production of The Borrowers along with the hyperactively hilarious White Rabbit Joseph Tweedale.

It’s a familiar cast, but as an ensemble and with the innocence of Alice, played by relative newcomer Elian West, they had wonderful energy and chemistry. I was also glad to see Callum Davies’ debut as the Doormouse, having joined the cast through the Sherman Players and as one of the Sherman’s apprentice actors. It’s great to see new talent being supported by Sherman – and Callum was adorable as the mouse!

Firstly, mad props to designer Hayley Grindle and her team, who created a stunning chequerboard set, which was dazzling and disorientating at the same time! The intimacy of the space in Sherman creates such a lovely, cosy atmosphere and the set and props were clever and creative (the baby pig, the trap doors, the table legs, the ticking clocks, the tiny doors at the end of the corridor, the teacups, mushrooms and roses).

Writer Mike Kinney added his own flair to the show, which did not chain itself to the original book or Disney movie visuals, but found its own voice.

A Duchess with a valleys accent, Tweedledee and Tweedledum with broad Newport accents and a flavour of the Welsh language peppered in dialogue exchanges and songs brought a similar kind of relevance and familiarity that Christmas Panto-goers will know and love.

Having been a life-long fan of valleys Pantomime Dame Frank Vickery who sadly passed away this year, it was lovely to see Keiron Self mimicking the same kind of high-camp, neurotic valleys Mam vibe which always hits home with me!

The littlies in the audience also loved the huge presence and scary-as-hell crazy eyes of Hannah McPake as the Queen of Hearts. Francois Pandolfo’s turn as the hen-pecked, simpering and anxious King was simply brilliant. I hadn’t expected the show to include musical numbers and it added another rich layer to this lovely production, with the cast ensemble vocals (particularly in the ‘Alice’ intro song and refrain) so sweet-sounding and warming.

Another standout song which children will love (and you’ll see them mimicking it in the foyer afterwards, no doubt) was a song about Alice’s baby sister (who it turns out has a head of a pig). It’s possible you may also have the ‘Wah wah wah…’ song in your head for the rest of the evening.

I had two ‘mini-critics’ of my own with me, age 9 – and they are typically the harshest of critics and don’t pull any punches. What were their final thoughts?

“Why did Alice not have blonde hair?!” said one of the littlies, who was completely exasperated with this minor detail. I explained this was a theatre show – not a ruddy Disney movie. Things always change on stage.

“Still – everyone knows Alice has blonde hair…also, I thought the Wah Wah Wah song went on for ages.”

Riiiiiiiiiight – so what would your marks out of five be, I asked them both – dreading the answer.

“I’d give it 3.5 stars.” Mini Critic 2 said.

Sheesh! What about Mini Critic 1?

“Definitely a 4.5 – I thought the singing was lovely and they were really funny.”

Jeez, maybe the Queen of Hearts was right about kids! I also couldn’t believe that these two did not share my enthusiasm for the Jam tarts which the Sherman had so thoughtfully provided for their guests on opening night.

“Look kids – JAM TARTS…WOWWWWW!” It doesn’t take a lot to get me excited, I admit.

“Meh…don’t like Jam Tarts.”

I tried threatening them that if the Queen of Hearts heard their comments, she’d have their heads off but….

Kids today! You can lead them to a finely tuned production of Alice, but you can’t make them eat the Jam Tarts or get over the fact that Alice didn’t have blonde hair.

Ultimately though – we all agreed this was a great little show, which got us feeling very excited indeed for Christmas (oh, and I still have the Wah Wah Wah song circling my head!).

Go see it – you won’t regret it!