After studying Carol Ann Duffy’s work in school, I can say that my expectations were set high as I sat amongst an audience of restless young minds and excited adults alike. I couldn’t wait to see how Duffy’s vivid imagination and blunt tone would play out on stage in comparison to the short poems I’d analysed so carefully.
The play featured four young, talented actors that sang and waltzed and even pecked their way across the stage, using the lack of props to their best of their ability as they gave two exemplary performances of the infamous tales, Hansel and Gretel and Ashputtel.
Needless to say, the children in the audience settled down quickly as the production began with the eerily soothing voices of Hansel and Gretel’s family, and they stared at the awe-filled children with big eyes, maintaining enough eye contact with each spectator as to include each and every person in the new world they presented.
Although the tale of Hansel and Gretel delivered a more melancholy side of Duffy’s imagination, the ending was sure to warm the hearts of every parent in the room, enough to prepare them for the big dose of fun the second half of the production was ready to lump on top of them, and, true to its name, Ashputter left in its wake a layer of ashes impossible to shake off after it’s spectacularly bright show.
At one point towards the end of show, a step-sister screeched mid-stage as she used a plastic axe to saw off the tips of her toes that she couldn’t fit into the slipper. Although the guffaws of the children suggested they found the act funny, I’m sure some parents, as well as myself, found the incessant screaming and fake bloody rag more than a little bit alarming. This was not a rare occurrence either, as body parts were chopped off on two occasions.
On the whole, Grimm Tales was an eye-opening, funny, and family-orientated production I wouldn’t hasten to recommend to a family with younger children, so long as the members were okay with a little bit of gore.
All posts by Guy O'Donnell
Les Miserables Review by Elin Strachan
I’ll admit, before we even begin, I have never seen the musical, or read the book, of Les Miserables. So I’m going to have to judge this with no prior knowledge. But a good film should stand on its own merit. So does it?
Firstly the singing, arguably the most important aspect. On the whole very good, with a few dubious notes from Russell Crowe. From my limited understanding, there is no dialogue in the musical, and the small added parts I felt didn’t flow well, and was unneeded in most instances. Anne Hathaway was heartbreaking as Fantine, and Hugh Jackman was excellent as Valjean. They deserve whatever awards and nominations they get. Samantha Barks and Eddie Redmayne were also notable as Eponine and Marius.
The plot was easy to follow, despite being almost entirely sung, and all the actors were able to convey the character’s emotions outstandingly through song. My major gripe with the plot (there had to be one) was the Disney-princess-esque romance between Cosette and Marius (they kind of catch each other’s eye in a busy market, and then BAM, ‘You are the very thing that gives my life meaning’ and all that. It took me longer to type this out than that took to happen.) but once again I know they were incredibly pressed for time, and this my also be a fault in the musical, so there isn’t much they could have done.
So on the whole, an enjoyable, if not completely tragic, experience. I would Recommend.
A word of advice, don’t form an attachment to any of the main characters. Probably a goner by the second half.
Grimm Tales Theatr Iolo by Malikah Saba
Poet Laureate Carol Ann Duffy and Theatr Iolo produced the magical stories of the Grimm Brothers which included the tales of Ashputtel which is the original Cinderella story, and Hansel and Gretel, which I saw at Sherman Cymru, Cardiff.
The production consisted of just four actors, who played all the designated roles simultaneously. This was by far the best show presented. It offered goriness, fear and appraisable imagination. It took a turn back in time; rather than showing the predictable show of lust, hope and forgiveness, it allowed for the younger audience to be revealed ever so gently to the disappointments and punishments of life. It had many memorising moments within the production, alongside many frightening parts, such as the birds pecking the eyes out of the two step sisters. Although the production was aimed at a young audience, it gave them the chance to relate to mature content. The gasps in the audience indicated that the audience was surprised each time the play took a new turning. It was a chance for the 21st century audience to see a combination of modern with traditional. The play elegantly summed up the original story of the Grimm Brothers with the appropriate level of obscurity.
Overall the production was a great success, as it intrigued the audience; it allowed the audience to search their imagination and come up with their own twists and outcomes of the play.
YC Review, Grimm Tales, Theatr Iolo.
Grimm Tales Review – Cardiff Sherman Theatre 27th February 2013
The production was put on by four talented actors who cleverly interlinked storytelling and performing when showcasing two of the Brothers Grimm fairy tales – Ashputtel and Hansel and Gretel. Everybody has seen and heard of the Disney take on these famous fairy tales but it was refreshing to watch a slightly different version of events. The cast acted out the original tales and kept the audience captivated throughout with special sound effects and music that brought the stories to life, with each actor playing different instruments throughout the shows. Although the set was basic without too many props, the performers used it in such a way that entranced viewers and allowed them to also use their own imaginations to envisage the events unfolding before them.
The atmosphere in the room was enjoyable with many moments where the room gasped and laughed together at certain points in the stories. Arguably, having only four cast members is not ideal for most performances, but it really allowed the audience to concentrate and identify with the actors as they are performing and it meant that there was less distraction for them. They were able to focus on the original message of Grimm’s fairy tales without being bogged down by too much happening on stage at once.
The production was directed by Kevin Lewis and adapted by Carol Ann Duffy who evidently make a great pairing when creating shows suitable for a wide range of people. Children, adults and teenagers alike are able to enjoy this magical show which is especially great for families, keeping you entertained and involved throughout.
A highly enjoyable show where you often find yourself forgetting about everything else; and feeling eager to discover what happens next in the twists and turns of these tales.
Amy Sandford
YC Review, One Direction, Cardiff Motorpoint Arena, Samantha Tiernan
One Direction ‘Take Me Home’ World Tour Review by Samantha Tiernan;
After fighting for tickets over a year ago, One Direction fangirls were finally able to see their world famous idols perform their latest album ‘Take Me Home’ on their sell-out tour in Cardiff’s very own, Motorpoint Arena. This extreme demand resulted in the five young boys performing 2 evening shows and 2 matinee shows from the 1st of March to the 3rd of March, meaning the city of Cardiff was filled with over excited teenage girls desperate to meet Harry Styles, Niall Horan, Louis Tomlinson, Zayn Malik and Liam Payne.
After the long wait in the queues, spiralling all the way around to the back of the arena with enthusiastic singing from almost everyone, the doors opened promptly and a rush of screaming fans found their seats and waited impatiently for the support acts.
Firstly, American singer ‘Camryn’ appeared and sang several of her own songs and covers, including Kelly Clarkson’s ‘What doesn’t kill you makes you stronger’. However the crowd didn’t seem to find her entertaining, with the majority staying in their seats despite her attempts to stimulate the room. It was clear the unimpressed fans did not find her enticing as she announced her next song, which followed with an echoed sigh throughout the audience. Whereas the second support act, 5 seconds of summer wowed the audience with their material as well as a rendition of ‘Teenage Dream’ by Katy Perry. The Australian band proved to be much more popular than the earlier act and managed to get most of the crowd on their feet in preparation for One Direction to storm the stage.
Eventually, the time came. Avid fans got their signs and glow sticks ready as videos on huge screens showed the boys introducing themselves during a pretty exciting party. The well designed set became known to the audience, including ramps, stairs, a platform and obviously the band before the five boys appeared to roars of screams.
Starting with a hit from their previous, debut album the boys introduced themselves with ‘Up All night’ which erupted the arena leaving everybody jumping and screaming. After several upbeat performances from both of their albums they slowed it down with the song ‘Change My Mind’ and stepped onto the platform in the centre of the stage. Amazingly, on the platform they made their way over the audience to the second stage towards the back of the arena while singing their hearts out, causing some dedicated fans to ball their eyes out. The boys are known for their brilliant interaction with their fans and this show was no exception, as they answered questions sent to them from twitter, having the audience in hysterics at them attempting to speak welsh. As the boys headed back to the main stage they continued to please the audience with their lively music, including a cover of the well known ‘Teenage Dirtbag’.
Finally, Zayn, Louis, Liam Harry and Niall said their thankyou’s and goodbye’s and headed off stage leaving a frenzy of fangirls unsure of what to do with themselves. Outside, the surroundings of the Motorpoint arena consisted of grinning girls wearing as much merchandise as they could and plenty of declarations of love.
A Grimm Tale or two for Brynteg Young Critics.
20 of the Young Critics from Brynteg school in Bridgend went to see Theatr Iolo’s production of Grimm Tales on Wed morning.
The cast and company also spent time answering the YC questions regarding the production.
Reviews to follow.
Thanks to Sherman Cymru and Theatr Iolo for supporting this event.
Happy 30th Birthday to Disability Arts Cymru!
Last night saw a celebratory evening for Disability Arts Cymru as they reached their 30th Birthday.
The evening launched the company’s new website and also featured performances by the Unusual Stage School and the musician Dai Sharkey.
Held at Chapter Arts Centre, the evening began with the performance of ‘Remote Exit’, a play by Welsh writer Meredydd Barker. The Unusual Stage School was developed in 2006, when 12 disabled actors undertook a residential training course. Since its beginning, the USS has provided unique acting opportunities for talented disabled actors throughout Wales. With a small cast of six, the play explores themes of illness and dependency within the confines of the family unit. Despite having serious undertones, the script was punctuated by natural, often dialectical humour, with plenty of opportunities to insert comical scenes.
The cast (Kate Hampton, Andria Doherty, Richard Newnham, Laura Morgan, Lindsay Foster, Michael Karampelis) were a strong ensemble, especially when specific actors needed to slip in and out of multiple roles. There was good use of a split scene, and the simple set proved helpful for swift scene changes.
The accessibility of the piece was extremely impressive; in many ways, it was more accessible than any other kind of theatre. There was use of a sign language interpreter along with a captioning screen. The whole performance was well produced and directed.
Disability Arts Cymru’s new website looks great, and you can find it here. http://www.disabilityartscymru.co.uk/
Happy Birthday to the company!
Adolygiad Y Bont gan Rachel Morgan
Y Bont, Theatr Genedlaethol Cymru., Aberystwyth, February 6, 2013
Roedd awyrgylch trydanol yn llenwi cyntedd Canolfan y Celfyddydau yn Aberystwyth ar brynhawn Sul cyn dechrau perfformiad unigryw Theatr Genedlaethol Cymru o’r Bont. Ac nid yw’n syndod ychwaith ; roedd 500 ohonom yn aros yn eiddgar i’r hyn a ddisgrifiwyd cynt fel perfformiad a fyddai’n ‘plethu theatr byw gyda ffilm, technoleg ddigidol, a chyfryngau cymdeithasol i greu un digwyddiad bythgofiadwy’. *
Heb os, roeddem yn aros i fod yn rhan o berfformiad a fyddai’n garreg filltir bwysig yn hanes y Theatr Cymraeg yng Nghymru, ac o’m rhan fi fy hun, ni chefais fy siomi.
Protest cyntaf Cymdeithas yr Iaith Gymraeg, hanner can mlynedd ynghynt, ar bont Trefechan a ysgogodd y ddrama a cheisio ail greu digwyddiadau’r diwrnod pwysig hwnnw a’i phlethu â’r presennol oedd amcan uchelgeisiol y perfformiad.
Ar ôl cael ein tywys i ganol y dre ar fysiau o gyfnod y 60au cerddon yn un dorf fawr i wylio’r myfyrwyr ifainc yn gosod posteri y tu allan i Swyddfa Bost Aberystwyth yn hawlio statws swyddogol i’r Gymraeg.Aethom o’r fan honno i gaffis gwahanol y dre i fwyta pice ar y maen ac i yfed te o gwpanau a soseri, (rhaid canmol pwy bynnag penderfynodd defnyddio soseri a chwpanau)!
Er i ni gael eistedd a chynhesu mewn caffis nid toriad hanner amser oedd hwn, serch hynny, oherwydd i’r perfformiad parhau ar ffurf fideo wrth inni wylio protestwyr 1963 yn hel atgofion am y brotest wreiddiol. Roedd defnyddio geiriau’r protestwyr gwreiddiol, nid yn unig yn wers hanes diddorol ac addysgiadol i’r gynulleidfa, ond yn dechneg effeithiol i gynnal momentwm y presennol. Llwyddodd ei geiriau nhw, ochr yn ochr â deialog yr actorion oedd i glywed yn uchel yn y caffi creu ymdeimlad o gyffro wrth inni sylwi ein bod yn agosáu at uchafbwynt y perfformiad ; cerdded at y Bont.
Dyma oedd fy hoff ran i o’r ddrama. Yn ffodus, llwyddais i gyrraedd blaen y dorf ac roedd troi o amgylch a gweld 500 o bobl yn dilyn ôl traed y protestwyr gwreiddiol mewn tawelwch wrth wrando ar ddeialog y ddrama yn datblygu trwy eu clustffonau, yn olygfa hynod o bwerus a thrawiadol.
Ar y bont perfformiwyd golygfa olaf Kye a Dwynwen. Cychwynnodd stori Kye, cerddor o Ferthyr a Dwynwen myfyrwraig PhD ym Mhrifysgol Caerdydd a chyflwynydd teledu rhaglen ddogfen am hanes pont Trefechan, ar ddechrau’r perfformiad yng Nghanolfan y Celfyddydau wrth inni wylio fideo o hanes y ddau yn cwrdd, yn symud mewn gyda’i gilydd, ac yna yn gwahanu oherwydd, yn bennaf, agweddau gwahanol y ddau at y Gymraeg. Ochr yn ochr â hanes protest 1963 dilynwn stori garu’r ddau wrth i’w hamgylchiadau dod â nhw at ei gilydd yn Aberystwyth y Sul hwnnw am y tro cyntaf ers iddynt wahanu. Roeddwn i wir yn hoff o’r modd y llwyddodd stori Kye a Dwynwen cael ei gwau o amgylch y gynulleidfa a hanes y brotest, a rhaid canmol yn bennaf perfformiad yr actor a oedd yn chwarae rhan Kye.
Er hyn, credaf y byddai’r ddrama gyfan ar ei hennill petai fwy o ddyfnder yn y ddeialog rhwng y ddau gymeriad. Byddai clywed mwy am hanes Kye wedi cryfhau’r stori, yn yr un modd y byddai cael gwybod mwy am benderfyniad Dwynwen i adael ei swydd yn ychwanegu at uchafbwynt diweddglo’r ddrama. Ai penderfyniad gwleidyddol oedd y tu ôl i’w hymddiswyddiad? Yn y sgwrs rhyngddi hi a’i chynhyrchydd yn y Cabin a welwyd ar fideo daeth i’r amlwg nad oedd ‘peidio â bod yn wleidyddol’ fel y cynghorodd ei chynhyrchydd iddi fod yn ei phlesio. Ai safiad yn erbyn ei hawl i fynegi ei barn am bwysigrwydd y brotest oedd un o’r rhesymau y tu ôl i’w phenderfyniad i roi gorau i’w swydd, neu ei chariad at Kye yn unig a’i hysgogodd? Credaf y byddai ehangu ar hanes y ddau a diwygio ychydig ar y ddeialog a geir rhyngddynt yn rhoi cyfle gwych i greu diweddglo hyd yn oed fwy pwerus i gloi’r ddrama anhygoel hon.
Yr oedd hi, heb os, yn brofiad ac yn perfformiad bendigedig ac yn dyst i’r ffaith fod y Theatr Genedlaethol Cymraeg yn fentrus ac yn weledigaethol. Gobeithio hefyd yr oedd hi’n deyrnged a oedd wrth fodd protestwyr dewr 1963.
* Gwelir erthygl ’50 Diwrnod i fynd tan Y Bont’ ar wefan Theatr Genedlaethol Cymru
Meet the Young Critics !
With the TCWA coming up we thought now would be a good opportunity to add some information on this site on our Young Critics who form part of the panel for the TCWA.
The Scheme is open for young people from 5-25 and is free.
Rachel Morgan
Ar hyn o bryd dwi’n astudio ar gyfer MPhil yn yr Adran Gymraeg yn Aberystwyth, ond dwi’n dod o Aberdâr yn wreiddiol. Dwi newydd ymuno â’r Beirniad Ifainc ac wrth fy modd yn adolygu digwyddiadau llenyddol, cerddorol a’r theatr yng Nghymru.
I’m from Aberdare but currently studying for an Mphil in the Welsh department in Aberystwyth. I’ve recently joined Young Critics and enjoy reviewing literature, music and theatre events in Wales.
Sarah Finch
I am currently studying my first year of a degree for Theatre And Drama at Glamorgan University.
My eventual goal is to become a theatre/performance critic enabling me to write for magazines and websites.
You’ll always find me with a notepad and pen while attending productions at Chapter, WMC, The New Theatre and other localised events.
I enjoy writing about others’ work and I find it encourages and influences my methods when I take to the stage to deliver a performance
Harriet Hopkins
I run a not-for-profit Writing Group, ‘Scribblers’ – we meet once a month to share all types of writing, give and gain feedback, and generally have a jolly nice time 🙂
I LOVE editing others’ writing, and am always open to submissions from budding screen or prose writers.
I’ve completed a BA(hons) in Creative Writing with Film Studies, and an MA in Creative and Critical Writing, which have given me the ability to critique creative work, as well as create it.
Most recently, I’ve been working behind the scenes on short and feature and films, which we hope will premiere in 2013.
TCWA Admin Officer.
Elin Williams
- English Literature graduate of Cardiff University.
- Love writing, directing and producing my own theatre.
- Young critic, reviewing in English and Welsh, writing for a personal blog and Wales Arts Review
- Theatre marketing assistant at a local theatre in the valleys
Rachel Williams
Stage Editor, Buzz | Young Critc | Part Time Civil Servant (to feed my theatrical and literary habits 😉 )
I have completed a BA in Media and Modern Literature and an MA Creative and Media writing.
Currently the Stage Editor for Buzz Magazine and juggling a job to pay the bills.
Always on the look out for new shows or new idea’s, let me know!
http://paradeisosgwynfor.blogspot.com
Fern Coslett
I am currently an A Level student at Stanwell School in the Vale of Glamorgan. I study media along with psychology and Product design. I hope to be going on to study media communications this September. I have my own personal blog in which I write about my favourite artists or songs in the music Industry. I enjoy deconstructing and analysing media texts; and being a part of young critics has allowed me to pursue this further.
http://myrosetintedeyes.blogspot.co.uk/ .
Bethan James
“Bethan is a writer and Young Critic currently focusing on scriptwriting projects. She works in the marketing team at a theatre.
Bethan is interested in theatre that incorporates innovative, participatory, and multi-media elements.”
Chelsey Gillard
Chelsey has been part of the Young Critic’s Scheme since it began in 2010 and is currently studying English and Drama at Cardiff Metropolitan University . She is one of the founding members of Hinge Productions – the university’s drama society and is directing their current production.
As well as writing for the Young Critics Chelsey also regularly contributes to Buzz Magazine and Wales Arts Review. She is passionate about all aspects of theatre and really enjoys innovative and original work, especially physical or circus theatre.
After her degree she hopes to pursue a career in theatre either in a practical sense or as an arts journalist.
Great Article on TCWA by Polly March on BBC Wales Arts Blog
First young critics’ awards for Welsh theatre
Great article written by Polly March for the BBC Wales Arts Blog !
http://www.bbc.co.uk/blogs/wales/posts/first-young-critics-awards-for-welsh-theatre