Things We Do For Love New Theatre, Cardiff
Writer: Alan Ayckbourn
Director: Laurence Boswell
Reviewer: Barbara Michaels
Rating: [3.8]
A multi-layered romp – in more ways than one – Things We Do For Love was first staged in 1997. The humour, and the dark edge behind it, are still relevant today, as indeed can be said of all of Ayckbourn’s plays. Bedroom farce – yes, and you may choose to take it at its face value. It is, indeed, a bedroom farce par excellence, as one would expect from one of Britain’s master playwrights. But in fact there is much more to it than that – it could in some respects more correctly be classified as a tragic-comedy for that is what it is in the end. For this reason, it is a piece that needs an expert hand on the tiller if it is to succeed. Director Laurence Boswell shows his mettle with this revival by Theatre Royal Bath Productions, a good understanding of Ayckbourn and whence the piece is coming.
On the surface a light, at times raunchy, comedy, and staged on a single set throughout, there is much to laugh at as the characters lurch from one relationship to another in a romantic whirlwind of a plot.. The set, that of a middle floor flat of a converted house owned occupied by the elegant and glacial Barbara, allows the audience to see into both the flat above and the flat below. While Barbara resides in lonely splendour on the middle floor, the upstairs apartment is the perfect bolthole for Nikki, Barbara’s old school friend, and her fiancé Hamish, while the downstairs room is occupied by Gilbert, a part-time postman and amateur plumber man who lusts after his ice maiden of a landlady in a somewhat unconventional way. Feelings change and relationships crumble as the plot develops and the characters reveal their true selves.
As Barbara, Claire Price gives us a believable, no nonsense career girl who has no time for men let alone romance and slides seamlessly into portraying the love-stricken, not to mention energetic in the bedroom and elsewhere, and abandoned female which she becomes. This is all due to her falling, big-time, for Hamish notwithstanding the fact that he is engaged to Nikki, avowedly her best friends since their school days. As Hamish, Edward Bennett looks suitably uncomfortable in the immaculate surroundings of Barbara’s flat while managing to project as a sort of male arm candy for whom women (literally) fall.
Making her stage debut, Natalie Imbruglia looks suitably fragile as Nikki, playing her as the stereotypical helpless-little-woman, irritating at times and yet managing to enlist sympathy and help from everyone including downstairs neighbour Gilbert. Simon Gregor shows his expertise in this role, with evident relish and giving it full throttle. The zany Gilbert has his dark side, and Gregor is adept in showing this beneath the banter.
This is classic Ayckbourn, showing us that what we see is not always what we get. Things We Do For Love will strike a chord in many ways. Ayckbourn’s cynical view is that love knows no boundaries and he is, of course, right.
Runs until Saturday May 17th
All posts by Guy O'Donnell
Review Ballet Cymru – The Same Flame/Week of Pines, Riverfront Theatre, Newport by 3rd Age Critic Barbara Michaels
Ballet Cymru has justifiably earned the reputation of going, artistically speaking, where no man – or woman – has previously dared to tread. This double bill proves the point with a combination of contemporary dance and, in the first half, a score by award-winning Welsh composer Thomas Hewitt Jones which incorporates a major choral input, and in the second half the music of folk song.
The Same Flame
Music: Thomas Hewitt Jones
Choreography: Darius James, Amy Doughty & company dancers
The dancers of Ballet Cymru showcase their expertise in this piece, based on a 35-minute choral work portraying Olympic values, with lyrics by Matt Harvey sung by the equally skilled Vivum Singers. The combination, in itself unusual, becomes even more so when guest artist Suzie Birchwood makes her entrance. Birchwood, who won a full scholarship to train at the London Studio Centre when she was 16, but had her training cut short a year later by the onset of generalized dystonia which has left her requiring wheelchair assistance, would emphatically not want this aspect of her life dwelt upon in relation to her dancing. So I shall only say that the determination required to appear on stage as a dancer in a choreographed piece that includes lifts and pointe work is mind-boggling. If that in itself is not deserving of an accolade, then the high standard of Birchwood’s work is even more so.
Darius James is a name well-known to those familiar with the work of Ballet Cymru, and here as is the norm with him he makes huge demands of his team of dancers who rise to the challenge with an evident enthusiasm. This is contemporary dance but James is not afraid to acknowledge, and at times make use of, traditional ballet steps and format, and does so with a seamless expertise which adds much to the success of the performance. The choral input by the Vivum Singers is considerable and of a high standard, but there is a caveat here, in that at times attention is inevitably split between the dancers on stage and the singing.
Week of Pines
Music and vocals: Georgia Ruth
Choreography: Darius James, Amy Doughy and dancers of the company.
A complete change of style, mood and scene for this work by Aberystwyth songwriter, singer and harpist Georgia Ruth, whose debut album is danced to here. Accompanying herself on the harp, and singing in both Welsh and English, backed by guitar, reed organ, bass and drums, Ruth’s is a talent which cannot be denied. Judging by the audience reaction, and conversations in the bar afterwards, many of the audience came specifically for this and, with each of six tracks telling a different story, there was undoubtedly an extra dimension to be gained for those familiar with the album.. However, for those more intent on the structure and performance as applied to the dance interpretation, some explanatory programme notes would have been helpful. Choreographing such a piece is far from easy, and while the dancers did their best to follow the mood swings of the score it did at times take its toll.
Overall, an exciting and innovative double bill danced by a company of nine dancers all of whom display considerable talent. It remains to be seen whether or not Ballet Cymru’s declared objective of bringing in those who are wary of traditional ballet succeeds. Judging by the enthusiastic reception, it may well have done so.
Barbara Michaels
Review Hot Flush New Theatre, Cardiff by Barbara Michaels, Third Age Critic
Hot Flush New Theatre, Cardiff
Writer: Julie Benson
Lyrics & music: Olly Ashmore
Director: Alan Cohen
Reviewer: Barbara Michaels, Third Age Critic
Rating: {3.5]
Some twenty years since her one man show at London’s Festival Hall, Lesley Joseph is doing it again – in a manner of speaking, that is. For Hot Flush, billed as “The naughtiest musical in town,” is not actually a one woman show. Lesley’s co-stars – Matt Slack, Anne Smith, Ruth Keeling and Lori Haley Fox – all have important roles to play, but the focus is on Joseph, in the central character of Myra, a barrister, and a successful one to boot, coping with the menopause and a rat of a husband who leaves her for a blonde bimbo. Much hilarity ensues as, with the help of her friends, also dealing with their own mid-life crises, an ever more desperate Myra tries to put back her biological clock.
Ever since she tottered on impossibly high heels onto our TV screens as man-eater Dorien Green in the hit comedy series Birds of a Feather, Joseph has played to packed audiences wherever there are women – or should I say girls – looking for a good night out. In Cardiff, as elsewhere, women dominated the audience. At the age of 69, can she still cut the mustard? The answer is yes, she can. With a sense of comedy timing that is spot on, Joseph gives her all – and That Walk is still unmistakeable.
However, despite a gut feeling that this across-genre piece is basically a vehicle for Joseph to showcase her undoubted talent, and a somewhat clichéd plot line, Hot Flush has some deper themes – errant husbands being only a part of a larger picture. These themes become more evident in the second act which is, to my mind, a great improvement on the first half where strident sound levels drowned out some of the lyrics. The best musical numbers, several of which rely on familiar tunes, are a welcome feature of the second half, which gets off to a flying start as the talented Matt Slack who, as the man in the cast, plays all the male roles, takes centre stage..
He does so with a perceptible relish and expertise that makes his every entrance a joy, and forms a great foil to the women’s antics. Jokes –many of them cruder than those heard on a building site – come thick and fast, although some of the more subtle anecdotes went unnoticed on the first night in Cardiff. Writer Julie Benson’s intention was to extend her original book about the female menopause into a musical about women who were going through a stressful time in their lives, but was funny – and in that she succeeds. If you are looking for a night out with the girls, it’s fine. But don’t take your maiden aunt.
Run: Thursday & Friday, April 24th and 25th
Review Under Milk Wood : An Opera, Sherman Theatre, Cardiff by Third Age Critic Barbara Michaels
Under Milk Wood Sherman Theatre, Cardiff
An opera
Words: Dylan Thomas
Music: John Metcalf
Co-production by Taliesin Arts Centre, le Chien qui chante (Quebec) and Companion Star (New York), in association with Welsh National Opera.
Reviewer; Barbara Michaels
Ratings: [4.00]
Re-imagined and set to music by Wales’ leading opera composer John Metcalf, the words and imagery of Dylan Thomas’s Under Milk Wood are given a new slant in this presentation by Taliesin Arts Centre, staged as part of the Dylan Thomas 100 festival. Given Metcalf’s sensitive handling of the poet’s ‘Play for Voices,’ and a talented thirteen-strong company of singers and multi-instrumentalists, it can hardly fail. Together with director and producer Keith Turnbull, Metcalf has succeeded in translating Thomas’s mythical village of Llareggub with its gloriously eccentric residents into the format of opera. Not grand opera, to be sure, but rather the melding together of the different genres of poetry and music, requiring in addition considerable acting skills – quite a tall order.
Not surprisingly, in the centenary year, there are many productions of the famous poem, originally written for radio back in 1954, going the rounds. This one is unique, being the only operatic presentation ever – a world premiere, no less. With visuals used as backdrops and a realistic sound track producing the sound of waves crashing onto the beach, it succeeds to a remarkable degree. For those – and at a guess this applies to many of the audience – familiar with the text, it adds a valuable dimension to the whole.
However, there is a caveat. The overture, in the form of a musical introduction before the performance gets going, is overlong when balanced against the overall length of the piece. Also, the music is at times overloud, drowning out the voices and thus inevitably causing some members of the audience to, as it were, lose the plot – not to mention Thomas’s wonderful language, of which every word is to be treasured.
Fortunately, this rights itself and, as the singers settle into their parts – parts plural, for each one takes on the mantle of different persona – one begins to realise what a treat, and a rare one at that, this is. Centre stage, bass/baritone Michael Douglas Jones gives a sympathetic portrayal of the narrator blind old Captain Cat, ably backed by baritone Richard Morris who shines as Mr Waldo as well as in a number of other roles. Soprano Elizabeth Donovan is a wistful tart-with-a-heart Polly Garter who tugs at our heartstrings, while Helen-Jane Howard shows considerable acting ability along with a melodic soprano voice as Goassamer Beynon and other parts. Nice comedic touch from Gweneth-Ann Jeffers in the role of Mrs Ogmore-Pritchard, Mrs Organ-Morgan etc.
Considerable musical ability from harpist Deian Rowlands and some excellent viola playing by Parmela Attariwala.
All in all, a remarkable take on the best known work of the iconic Welsh poet.
Review Rites of Spring/Petrushka, Sherman Theatre, Cardiff by Third Age Critic Barbara Michaels
RITES OF SPRING/PETRUSHKA at Sherman Theatre, Cardiff
Director & Choreography: Michael Keegan-Dolan
Music: Igor Stravinsky
Fabulous Beast Dance Theatre
Reviewer: Barbara Michaels
Ratings: [3.5]
With a stark monochrome setting and virtually no scenery, Fabulous Beast Dance Theatre’s double bill, set to the powerful music of Igor Stravinsky, is contemporary dance with a vengeance. There is little or no acknowlegement paid to earlier balletic arrangements in the choreography. That is, perhaps, how it should be. What is lacking, however, in Michael Keegan- Dolan’s version, is clarity of context and relevance to the music. Despite the programme notes, some members of the audience were left floundering.
That is not to say, however, that these two pieces of dance theatre do not have merit. In Rites of Spring, Stravinsky’s vision of a solemn pagan rite with sacrifices to the god of spring, Keegan-Dolan uses the rhythmic elements of the music as a backdrop to violent scenes portraying pagan fertility rites ending in human sacrifice. At one point everyone strips – male dancers down to the buff while female members of the cast are permitted to retain bra and pants. Floral dresses are put on – and taken off again. A man gets murdered (why? Because he’s old, of course.}
Some spectacular dancing here, hard, exciting and physically testing, from both male and female members of the 14-strong International cast. While it is difficult to single out individuals, as the full cast are used throughout, mention must be made of one or two: Louise Mochia manages to remain graceful at all times, with lissom movements even when the pace is frenetic, while Anna Kaszuba displays amazing energy, coping with the considerable effort and expertise that the programme demands,
On the male side, there are striking elements, such as the wide-legged jumps done in unison while balancing cardboard boxes, cartwheels, somersaults, rhythmic stamping et al – some sequences are threatening and violent. This is not for the squeamish.
Petrushka, in the second half provides some light relief after the difficult first half. Petrushka was composed in 1911, and balletomanes will be familiar with the traditional ballet, which tells of a traditional Russian puppet, Petrushka, made of straw and sawdust, who comes to life. Again, Keegan-Dolan’s take brooks no quarter, paying no homage to the original apart from covering the dancers’ faces in dense white make- up like puppets. The cast displays wonderful fluidity of movement in this half, which is altogether more accessible, although there are still some shocks.
Despite the power of the dance, the strength and sheer volume of Stravinsky’s score tends at times to overwhelm the dancers, which is perhaps not surprising, given that it was conceived originally as a concert work. It was that great dancer Diaghilev who, back in 1910, persuaded him otherwise, resulting in the performances that caused much outraged comment back in the early 20th century. Despite the clever concept which it undoubtedly is, the same might be said of Keegan-Dolan’s version.
Run: April 8 & 9
Review of Cinderella, New Theatre, Cardiff by Third Age Critic Barbara Michaels.
Northern Ballet
Choreography, direction & costume design David Nixon OBE
Music Philip Feeney
Review by Third Age Critic Barbara Michaels.
Golden epaulettes, crystal chandeliers and Cossacks – all the flavours of Imperialist Russia bring glitter and glamour to David Nixon’s take on this new balletic version of the rags-to-riches fairytale by the brothers Grimm. While it retains the key features – put-upon-Cinderella, her cruel stepmother, heartless stepsisters, handsome Prince and, of course, the glass slipper – it probes deep into the back story and so becomes a much darker concept altogether.
For a start, there is the music. Philip Keeney, who composed the music for Christopher Gable’s version of the story back in 1993, has managed to pull a completely different and much more strident score out of the hat, echoing the disturbing elements – child abuse et al – underlying the story. Nixon gives us two Cinderella’s – the very young girl whose father, who dies tragically at her birthday picnic, is her idol – and the young woman who captures the heart of a Prince.
As young Cinderella, Michela Paolacci is delightfully ingénue, bringing delicacy and a touching vulnerability to the role,, but it is Lucia Solari, dancing Cinderella grown to womanhood, whose grace and fragility, coupled with an expertise in a role which requires her to dance en pointe for much of the time, who deserves a major accolade for the exquisite precision of her dancing. Nixon’s choreography ups the ante for the male dancers, giving Javier Torres, as the Prince who captures Cinderella’s heart, a chance to show his strength as a soloist. However, it is in the final pas de deux with Solari that he comes into his own.
Nixon has made some changes to the concept of the wicked stepmother, first seen here. as an adoring wife who, distraught with grief at the death of her husband for which she blames Cinderella for his demise, turns against her. Some wonderful choreography with its own poignancy and heartbreak behind the cruel façade is danced with understanding by Jessica Morgan, who shows a command of the stage that bodes well for her future. And what of the Fairy Godmother?
You may well ask. Nixon has replaced her with a male Magician, danced here by Tobias Batley (who doubles this with the role of Cinderella’s father), popping up when needed and throwing the occasional magic trick or firework to keep us on our toes, at times hovering in the background, in a manner which brings to mind the more sinister Baron Rothbart brooding over Swan Lake, in the ballet of that name. Although the Magician is, of course, a benign figure, the reference, although oblique, is there. It is referenced again in what is, perhaps, the most memorable scene in this innovative production – that of skaters gliding over an icy glistening lake, danced as always to a high standard by the Northern Ballet Company.
Review Twelfth Night at the Sherman Theatre, Cardiff by Third Age critic Barbara Michaels.
Twelfth Night at the Sherman Theatre, Cardiff
Writer: William Shakespeare
Production by Filter Theatre in association with the RSC
Director Sean Holmes, redirected by Oliver Dimsdale & Ferdy Roberts
Rating: [4.OO]
Review by Third Age critic Barbara Michaels.
Opening with a cacophony of sound, accompanied by a robust rendering of “If music be the food of love, play on,” Filter Theatre’s production of Shakespeare’s Twelfth Night, is raucous, lively and highly comedic. If the intention was to shock those who prefer their Shakespeare in more traditional style, then it succeeds.
This is a radical interpretation of the original comedy of unrequited lover and mistaken identity in the fictional land of Illyria – where all is not as it seems. Both innovative and clever, the production relies on the interaction of cast on stage (and, some of the time, seated in the audience too) and audience – plus musical backing or, rather, participation. There are times when it is possible to have too much of a good thing and, despite being performed by accomplished musicians and an integral part of the whole, it would benefit the production overall if the music was not quite so full on. All in all, it’s something of a miracle that the wonderful language and poetry of Shakespeare’s comedy still manages to surface with a golden liquidity that catches at the heartstrings.
Which it does, somewhat amazingly perhaps, given that the whole is interspersed with modern gadgetry such as synthesisers and mobile. Several of the small team of actors are case in dual roles, in addition to the more usual modus operandi of this being applicable only to the twin sister and brother Viola/Sebastian, whose story of lost and found is central to the plot. Sarah Belcher plays both these roles, switching dexterously between the masculine and the feminine in posture as well as tone.
This is, however, not always the case with the rest of the cast, although Natasha Broomfield does pretty well with Maria and the fool Feste, the latter role being clarified by a fool’s cap and some throwing of coloured balls between stage and audience – a tad too pantomimic for my liking. The complexity of the story is such that those who are not familiar with the play may struggle to work out which character is speaking at times – particularly in the case of Jonathan Broadbent’s double act as Orsino and Sir Andrew Aguecheek.
Liz Fitzgibbon’s Olivia is a delight. Along with her considerable ability as an actor, Fitzgibbon has a fine singing voice. Displaying considerable talent as well as a spread of hair-free torso, Fergus O’Donnell as Malvolio throws himself into the part with an insouciance and gay abandon that has him capering about the stage in a pair of golden speedos. One has to give Filter marks for originality, along with the proviso that sometimes less is more.
Ruffstylz TCWA2014 Rap Lyrics
We have had requests for the lyrics from Ruffstylz TCWA2014 Rap so please find it in all its glory below!
For the second year it is with the greatest support
The Theatre Critics Of Wales Awards
Welcome to a world of world/Many rabbitholes
That show what we have at home stands its own to match the globe
These Living Pictures we live in when we visit ’em are limitless
A visionary link to our religion
As we hand shape our urges ’cause Praxis Makes Perfect
Let’ celebrate the landmarks on the landscape we’ve furnished
Classic opera filled the stage/So did ballet
We can even innovate in No Fit State
It’s a Sherman tank that whirrs and cranks with steel traction
And drives off the middle of the road to find real passion
So our Waking Exploits/Stimulating like sex toys
Activating the bed’s noise/Making the legs moist
For ugly matters we sing a Bloody Ballad
But if you want some lovely action in a cuddly fashion
Here Be Monsters Sleeping Beauties and Silly Kings
Colourful fun like silly string as we stay addicted to delivering
New types of life’s depth yn Gymraeg neu Saesneg
Theatr Genedlaethol/Clwyd/Tonypandy-monium/A nice spread
The next Chapter in our Art’s Centred around you
And you and you and you too with you too
Gather up actors dancers emcees and others too
And use the country as a stage like NTW
So let the Earthfall and planets shift out of balance
Manipulating thoughts into matter/Talent
Being part of the never ending quest for true art
‘Cause it’s like being shot in the chest with a new heart
That’s why we push to make things we’ve never seen ever in our lives
Then equal it eleven times along Parallel Lines
Now we’re all filled up with petrol and ready for the next road
But for now let’s be amazed at our achievements/Let’s go
HOLLYWOOD RHYMING OUT NOW
https://ruffstylz.bandcamp.com/track/hollywood-rhyming-demo-version
Ruffstylz
2x Longest Freestyle Rap world record holder (17 hours)
Associated Minds
The Zeitgeist Movement (Cardiff Chapter)
www.ruffstylz.com
www.twitter.com/ruffstylz
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Percentage returns #TCWA2014 online vote
Golwg360 and Wales Online very kindly hosted the public online votes for this years Theatre Critics of Wales Awards. The percentage breakdown of the votes is shown below.
Percentage returns Online Vote
Best Production in the Welsh Language hosted by Golwg360
Tir Sir Gar- Theatr Genedlaethol Cymru 43.86% 168 votes
Llanast-Theatr Bara Caws 25.85% 99 votes
Blodeuwedd-Theatr Genedlaethol Cymru 19.06% 73 votes
Cyfaill-Theatr Bara Caws 6.01% 23 votes
Y Bont-Theatr Genedlaethol Cymru 5.22% 20 votes
Total entries 383
Percentage Returns Online Vote
Best Production in the English Language hosted by Wales Online
Tonypandemonium – National Theatre Wales 39.1% 398 votes
Love and Money – Waking Exploits 21.1% 215 votes
Parallel Lines – Dirty Protest 19.8% 202 votes
The Bloody Ballad – Gagglebabble 15.7% 160 votes
Caligula – August 012 4.3% 44 votes
Total entries 1, 019
TCWA2014 Music & Sound Credit Change
Please note the credit for Winner of Best Music and Sound TCWA2014 should read;
Best Music and Sound
‘ The Bloody Ballad- Lucy Rivers’
and not
‘ The Bloody Ballad- Dan Lawrence and the Bloody Ballad Company’
Thank You.