The Hobbit: An Unexpected Journey
The first film in this three part film adaption of Tolkien’s ‘The Hobbit’ had everything you would want from a fantasy adventure film; suspense, comedy and danger. The film follows the unexpected adventure that the Hobbit, Bilbo Baggins undertook earlier in his life. I thoroughly enjoyed the film as the acting from all the cast was brilliant. Also the scenery and costumes were spectacular transporting the audience to the fantasy place of Middle-Earth. I watched the film in 2D but I think certain scenes would have been amazing to watch in 3D, particularly the fight scenes.
However there were parts of the film which seemed to go quite slowly particularly the beginning, which is to be expected as a lot of the backstory was played out. But once the action starts the pace is quicker and although it is a long film it does not feel that long.
I would definitely recommend this film even if you have not seen the ‘Lord of the Rings’ trilogy. I myself have not watched them nor read the book. I strongly recommend joining Bilbo on this epic adventure.
All posts by Guy O'Donnell
Review of The Twilight Saga: Breaking Dawn – Part 2 by YC Danielle John.
The Twilight Saga: Breaking Dawn
The last ever Twilight film lived up to its high expectations. Bella’s transformation into a vampire was now complete and the audience followed her unusual journey with delight. Any Twilight fan would be thrilled at the happy ending for Bella and Edward. Although perhaps quite flat compared to the cliff-hangers of the other films the ending was a well-deserved one for the couple who had a very turbulent relationship. The acting and special effects were brilliant. For me the best part of the film was the addition of the scene with the Volturi, the atmosphere in the cinema could have been cut with a knife. There were many whispers that this was not in the book and at one point the whole cinema gasped. I like many sat dumbfounded as the film quickly steered away from the book, a very exciting twist to the tale.
The film was an amazing finale to a great series and I thoroughly enjoyed it. Although I think mainly Twilight fans would enjoy this film.
Shortlisting Process
A selection of Wales theater critics met at Media Wales last week to begin the short listing process for the TCWA’s 12 which will be held at Sherman Cymru on Saturday 26th January, 2013. The shortlisted nominees in each category will be announced mid December 2012.
We have aspired to truly reflect the range of work created this year and have endeavored to see as much work as possible, critics on the panel include,
Lowri Haf Cooke
Victor Hallet
Michael Kelligan
Dylan Moore
Jenny Longhurst
Karen Price
Gary Raymond
Mike Smith
Othniel Smith
Adam Somerset
Elin Williams
Rachel Williams
Nigel Jarret
Chelsey Gillard
Bethan James
First Theatre Critics of Wales Awards
I am delighted to announce the first ever Theatre Critics of Wales Awards, which will be held at Sherman Cymru on Saturday 26th January, 2013.
Organised by the Young Critics Scheme based in Bridgend, the TCWAs will celebrate the successes of theatre in Wales each year, as voted for by the critics.
The shortlisted nominees in each category will be announced early December 2012, and we will update everyone regularly through an NTW Group (watch this space…) and our active Twitter account, as run by the Young Critics themselves!
This is a very exciting opportunity for Wales to celebrate the fantastic and dynamic work being produced by its theatre companies year in, year out.
Don’t miss out on the action!
Follow us @Young_Critics
The TCWAs are supported by…
Review of the Utah Bride, By YC Fern Coslett.
Set in the heart of the Welsh Valleys in the early 1990s the Utah Bride is a production written by Carmen Medway-Stephens and produced by 1.168 Theater Company. The production focuses on the turbulent relationship between a mother and a daughter named Alice, throughout the play family is explored to create a thought-provoking narrative.
16 year old Alice is back from Utah after escaping the valleys four years previously to live the American dream with her Mormon missionary, her mother questions her motives for returning which I thought added stimulating anxiety.
The show starts and ends with a classic artist and a beautiful song by Dolly Parton, “Little Sparrow”. Its relevance to the play is blurred; I would have expected a Welsh soundtrack that would have established the setting of the production and would have made it feel more authentic.
The bright lights focused on the living room which established the setting for characters, I felt that the characters in the play were not sufficiently developed enough and were hard to connect and sympathize with. They were also over stereotypicalised as moments that touched upon their Welsh culture were much exaggerated such as the entire Welsh neighbourhood coming around to watch the birth of Alice in the back window of the house.I don’t think the narrative of the play was incredibly exciting as it did not take the audience on a climatic journey this could be due to it focusing too much on the relationship between mother and child.
However, for an hour and 30 minutes the play is intriguing and I was interested in the world created, I felt this was down to the brilliant and emotional acting of Sharon Morgan and Sara Lloyd-Gregory. When the actors were taking their bows you could see that they were both still emotional from the scenes, and it shows how deeply they entered their roles.
One very positive aspects of the show that I highly enjoyed was how the audience took on a voyeuristic stance; you felt intrigued to be watching a very personal moment between a mother and daughter.
The Utah Bride written by Carmen Medway Stephens produced by 1.168 Theater Company.
At Chapter Arts Center, Cardiff Fri the 16th and 17th December.
Cracked – Young Critics Review
Cracked ****
Dance House NDC Wales (in association with Cardiff Contemporary)
Created by Roy Campbell-Moore and Sue Williams
All good contemporary art is open to interpretation. Roy Campbell-Moore and Sue Williams’s collaboration, Cracked is no exception, posing a number of questions about the manifestation of sexuality and the relationship between man and woman.
Set to Tchaikovsky’s score from The Nutcracker, Cracked is a rebellion of the ‘fairy tale’. Instead, it explores the realities of relationships. The emotions and sexual tensions that we experience when starting a relationship, and the constant struggle for control.
We meet SHE as she dresses for a night out – picking clothes that accentuate her femininity and sexuality, a private moment adding her make up (which would have been a little more engaging with a larger mirror that reflected the mood and movement of the ritual), and then a full length check in the glass; a short dance that tests her outfit for suitability and sensuality, the tutu harking back to tradition and suggesting that, somewhere beneath the made-up exterior, every woman wants to be the fairy princess.
HE presents himself to us ready dressed, “effortless” in preparation for his evening. He responds to his own music with aggression and assurance; he WILL have a good night, and he WILL take what he wants from it. Though, beneath this demeanour of certainty and arrogance, there is a sense that it’s all a show.
In their meeting, there is a hesitance as they sit apart, not acknowledging the existence of the other until her small gesture of openness, willingness spurs him on, and he is suddenly all over her, falling (drunkenly) at her feet – using the most unromantic gestures to win her over. Their flirting and foreplay is a mix of desire and repulsion, though his main focus is the desire to have her, whether it is her will or not. The moment she feels sure of herself – confident enough to open herself up and give him a sense of her sexual self, he falls upon her, re-exurting his power and physical strength over hers.
A solo performance from SHE is re-empowering; she both embraces and rejects the traditional image of ‘woman’, and conveys her independence and the joy she feels in that.
The final scene between them is complex in theme if simple in design; a rope attached to the ceiling is incorporated into the dance. They each take turns manipulating the rope, though HE seems to hold it more often than SHE and is quickly frustrated and uncomfortable when it is wrapped around him, symbolising the male’s need to be in control, so that he can walk away at any time which, of course, he does, just when they have made a close and intimate connection.
Her final moment, alone is ambiguous. Is she happier this way, or is she devastated to have lost him? What’s wonderful aboutCracked is that the answer is different for everyone.
The use of the traditional, classical music that ordinarily evokes images of flowing white tutus and charming toy soldiers juxtaposes the harsher reality that is portrayed in Cracked, increasing the level of poignancy of each movement, each moment between the two dancers. And that reality is that there is no Prince Charming and, if there is, you might well be better off without him…
Created by Roy Campbell-Moore and Sue Williams
All good contemporary art is open to interpretation. Roy Campbell-Moore and Sue Williams’s collaboration, Cracked is no exception, posing a number of questions about the manifestation of sexuality and the relationship between man and woman.
Set to Tchaikovsky’s score from The Nutcracker, Cracked is a rebellion of the ‘fairy tale’. Instead, it explores the realities of relationships. The emotions and sexual tensions that we experience when starting a relationship, and the constant struggle for control.
We meet SHE as she dresses for a night out – picking clothes that accentuate her femininity and sexuality, a private moment adding her make up (which would have been a little more engaging with a larger mirror that reflected the mood and movement of the ritual), and then a full length check in the glass; a short dance that tests her outfit for suitability and sensuality, the tutu harking back to tradition and suggesting that, somewhere beneath the made-up exterior, every woman wants to be the fairy princess.
HE presents himself to us ready dressed, “effortless” in preparation for his evening. He responds to his own music with aggression and assurance; he WILL have a good night, and he WILL take what he wants from it. Though, beneath this demeanour of certainty and arrogance, there is a sense that it’s all a show.
In their meeting, there is a hesitance as they sit apart, not acknowledging the existence of the other until her small gesture of openness, willingness spurs him on, and he is suddenly all over her, falling (drunkenly) at her feet – using the most unromantic gestures to win her over. Their flirting and foreplay is a mix of desire and repulsion, though his main focus is the desire to have her, whether it is her will or not. The moment she feels sure of herself – confident enough to open herself up and give him a sense of her sexual self, he falls upon her, re-exurting his power and physical strength over hers.
A solo performance from SHE is re-empowering; she both embraces and rejects the traditional image of ‘woman’, and conveys her independence and the joy she feels in that.
The final scene between them is complex in theme if simple in design; a rope attached to the ceiling is incorporated into the dance. They each take turns manipulating the rope, though HE seems to hold it more often than SHE and is quickly frustrated and uncomfortable when it is wrapped around him, symbolising the male’s need to be in control, so that he can walk away at any time which, of course, he does, just when they have made a close and intimate connection.
Her final moment, alone is ambiguous. Is she happier this way, or is she devastated to have lost him? What’s wonderful aboutCracked is that the answer is different for everyone.
The use of the traditional, classical music that ordinarily evokes images of flowing white tutus and charming toy soldiers juxtaposes the harsher reality that is portrayed in Cracked, increasing the level of poignancy of each movement, each moment between the two dancers. And that reality is that there is no Prince Charming and, if there is, you might well be better off without him…
Before it Rains – Young Critics Review
Before it Rains ***
Sherman Cymru 25th Sept – 6th Oct
Written by: Katherine Chandler
Directed by: Roisin McBrinn
A play with the potential to become a hard hitting classic…
Set between the bereft garden of a typical ‘Shameless’ style council estate and a deserted woodland, Before it Rains tells the story of a desperate-to-be-young mum Gloria and her struggling-to-fit-in son Michael, and how their lives are affected by the appearance of the emotionally and mentally scarred new estate delinquent, Carl.
The friendship between the lads is led entirely by Carl, who prays on Michael’s well embedded mental health issue to manipulate Michael’s thoughts and morals. This fires the main conflict of the story, as Michael’s loyalties are pulled on in a human tug of war.
Lisa Palfrey has fleshed out Gloria with Julie Walters style and humour, making the character both endearing and brash; Craig Gazey pulls heart strings and tickles the occasional funny bone with his dead-pan impression of a young man most certainly born on the autistic spectrum and Harry Ferrier does a good job of playing the stereotypical chav who takes things a leap too far.
There are moments where this kitchen-sink drama shows true grit, with laugh out loud lines and shocking actions, but the characters are not fully developed and the relationship between Gloria and Carl, in particular, does not hold enough tension to make the penultimate scene feel likely or as powerful as it should.
Before it Rains has a charm and harshness that hints at Chandler’s ability to create enigmatic characters with raw passion and realism; with further development, and perhaps a two act structure, it could be a GREAT play.
Catch it at the Sherman until Saturday 6th September, in Theatre 2, 8pm.
Tickets £14 | Concessions £12 | Under 25s half price
Suitable for 12+
Written by: Katherine Chandler
Directed by: Roisin McBrinn
A play with the potential to become a hard hitting classic…
Set between the bereft garden of a typical ‘Shameless’ style council estate and a deserted woodland, Before it Rains tells the story of a desperate-to-be-young mum Gloria and her struggling-to-fit-in son Michael, and how their lives are affected by the appearance of the emotionally and mentally scarred new estate delinquent, Carl.
The friendship between the lads is led entirely by Carl, who prays on Michael’s well embedded mental health issue to manipulate Michael’s thoughts and morals. This fires the main conflict of the story, as Michael’s loyalties are pulled on in a human tug of war.
Lisa Palfrey has fleshed out Gloria with Julie Walters style and humour, making the character both endearing and brash; Craig Gazey pulls heart strings and tickles the occasional funny bone with his dead-pan impression of a young man most certainly born on the autistic spectrum and Harry Ferrier does a good job of playing the stereotypical chav who takes things a leap too far.
There are moments where this kitchen-sink drama shows true grit, with laugh out loud lines and shocking actions, but the characters are not fully developed and the relationship between Gloria and Carl, in particular, does not hold enough tension to make the penultimate scene feel likely or as powerful as it should.
Before it Rains has a charm and harshness that hints at Chandler’s ability to create enigmatic characters with raw passion and realism; with further development, and perhaps a two act structure, it could be a GREAT play.
Catch it at the Sherman until Saturday 6th September, in Theatre 2, 8pm.
Tickets £14 | Concessions £12 | Under 25s half price
Suitable for 12+
Dance GB – Young Critics Review
Dance GB
Wales Millennium Centre, 28th – 30th June.Funny. Fluid. Agitating. Frustrating. Relaxing. Mesmerising. Stunning.
The diversity of each performance from Dance GB made for an exciting and dynamic experience that no list of adjectives could adequately describe.
Scottish Ballet’s Run For It was full of peaks and troughs, working through John Adams’ Son of Chamber Symphony which both juxtaposed and complemented the beauty of the dance. Dressed in Scottish blue lycra, beside and beneath a seemingly Athens inspired installation from Martin Boyce, Martin Lawrence’s choreography conveyed the strength and agility of Olympic athletes whilst still feeling completely light and fluid. Every movement was beautiful and strong, showing off the muscle and power of the dancers.
National Dance Company Wales’s Dream, choreographed by Christopher Bruce was a funny, quirky and reflective performance, capturing the essence of sport for the layman. The 50s costumes and use of Ravel’s Bolero evoked a warm nostalgia adding to the emotions tugged out through the characters and their journey through this narrative piece. By far the most character driven, Dream is the perfect crossover performance for potential dance audiences. Like a favourite song, I could watch it over and over.
English National Ballet’s And the Earth Shall Bear Again was a dark, dramatic dance that felt almost medieval, each dancer in ruffle armed slips moving against the harsh and industrial sounds of John Cage’s music. Itzik Galili’s choreography was stunning, with patterns of dancers creating multiple mirror image effects, or dancing alone, finding their feet – their own movements, watched or ‘caught in the act’ by others. Again strength and power heralded, along with trial and error; learning from the movements of others to create new ones. However, the whole performance felt drowned out by the volume of Cage’s piece which jarred and, with no let up, was a little much for my ears.
Dance GB is a fantastic opportunity to see what’s out there Dance wise in the UK. Discard your expectations and go with an open mind. It will be an evening well spent.
Wales Millennium Centre, 28th – 30th June.Funny. Fluid. Agitating. Frustrating. Relaxing. Mesmerising. Stunning.
The diversity of each performance from Dance GB made for an exciting and dynamic experience that no list of adjectives could adequately describe.
Scottish Ballet’s Run For It was full of peaks and troughs, working through John Adams’ Son of Chamber Symphony which both juxtaposed and complemented the beauty of the dance. Dressed in Scottish blue lycra, beside and beneath a seemingly Athens inspired installation from Martin Boyce, Martin Lawrence’s choreography conveyed the strength and agility of Olympic athletes whilst still feeling completely light and fluid. Every movement was beautiful and strong, showing off the muscle and power of the dancers.
National Dance Company Wales’s Dream, choreographed by Christopher Bruce was a funny, quirky and reflective performance, capturing the essence of sport for the layman. The 50s costumes and use of Ravel’s Bolero evoked a warm nostalgia adding to the emotions tugged out through the characters and their journey through this narrative piece. By far the most character driven, Dream is the perfect crossover performance for potential dance audiences. Like a favourite song, I could watch it over and over.
English National Ballet’s And the Earth Shall Bear Again was a dark, dramatic dance that felt almost medieval, each dancer in ruffle armed slips moving against the harsh and industrial sounds of John Cage’s music. Itzik Galili’s choreography was stunning, with patterns of dancers creating multiple mirror image effects, or dancing alone, finding their feet – their own movements, watched or ‘caught in the act’ by others. Again strength and power heralded, along with trial and error; learning from the movements of others to create new ones. However, the whole performance felt drowned out by the volume of Cage’s piece which jarred and, with no let up, was a little much for my ears.
Dance GB is a fantastic opportunity to see what’s out there Dance wise in the UK. Discard your expectations and go with an open mind. It will be an evening well spent.
Cappuccino Girls – Young Critics Review
CAPPUCCINO GIRLS
Written by – Mal Pope
Directed by – Kathryn Rice
The Evening Post Theatre, Swansea
The record breaking 22 week run ended 17th June, 2012.Sitting in the black and pink bedecked ‘bar’ of Swansea’s Evening Post Theatre, listening to some of my favourite rom-com soundtracks, a gaggle of women around me – this musical, in the final week of its record breaking 22 week run, already promises to be a night out any girl will love…
The three main characters of Cappuccino Girls are certainly familiar: Hillary – the ex-magazine editor turned housewife pining for her career; Demi – the shy, put upon mother in a difficult relationship; Connie – the wealthy party girl who can’t get enough of new men, despite the ring on her finger… If you’re thinking Sex and the City, don’t. You’re getting way too excited.
Cappuccino Girls follows storylines that are, to some extent, emotionally tugging, hitting home quite literally for mothers and wives who have let these roles bury who they really are underneath. Relevant, in this age of working, yummy mummies who are expected to have it all, do it all and stay a size 10. At times, I even found myself choking up, identifying with the characters on the glamorous looking stage.
The music, composed by Mal Pope, is mostly excellent, though definitely cheesy in places! Some notable numbers are ‘Men are like shoes’ and ‘Millionaire’, which added humour, glitz and were akin to what a girl would expect from a sparkly show like this. The first act ended with the poignant ‘How Did I Get So Small?’, sung by all three women, Cerian Bidder as Hilary showing a remarkable talent for pulling the heart strings and tear ducts with her surprisingly strong voice – this song was hard hitting and, at this point I thought we would really be in for an exciting second half, full of conflict and perhaps even intrigue, the narration from Eddie hinting that their friendship may not last through their troubles. I was disappointed when the story continued its steady pace, and the friendships went untested. Despite this, Claire Hammacott’s performance of the empowering ‘Today’s My Birthday’ was beautifully played out, adding another layer to Demi’s character at least, whose development was the most significant of the show.
The issues, however, are not developed enough to carry the whole performance, and the lack of tension leaves you feeling like there’s something big missing…or that you’ve just witnessed a musical version of a slow week on Corrie… In fact, the content was over-told, and the entire piece could be cut by at least 45 minutes whilst maintaining the same (if not creating a bigger) impact. Despite this, the direction of Kathryn Rice pulled out great performances from the female cast, and Connie’s story not being well constructed does not stop us seeing Catherine Morris’s talents.
The two male players take on numerous parts, Phillip Arran believable as each girl’s husband and Maxwell James doing a good job in all the extra bit parts. The variety of accents Arran takes on is problematic though, and the transition between one to another is not smooth, though ‘snaps’ to the man for stamina as there is hardly a moment when he is not on stage or acting as a voiceover!
For a show not in its first run, I was surprised to find that the sound design still needed some work, with radio mics too often fading in late, leaving gaps in dialogue and sometimes missing the start of songs.
The set design was wonderfully girly, the black and pink theme continued through from the foyer to the theatre space, and being sat in the café with the characters brought you close to them, enhancing the atmosphere created by the lighting and decor; a nice variation on the stuffier, large scale musicals where you never feel quite so ready to relax. (A waitress or two taking cocktail orders throughout the show would not have gone amiss!)
Mal Pope has successfully created a backdrop against which the lives of these women can cross, showing the 90% female audience that they are not alone with their problems in life and that, in typical chick flick style, it’ll all turn out well in the end…
Written by – Mal Pope
Directed by – Kathryn Rice
The Evening Post Theatre, Swansea
The record breaking 22 week run ended 17th June, 2012.Sitting in the black and pink bedecked ‘bar’ of Swansea’s Evening Post Theatre, listening to some of my favourite rom-com soundtracks, a gaggle of women around me – this musical, in the final week of its record breaking 22 week run, already promises to be a night out any girl will love…
The three main characters of Cappuccino Girls are certainly familiar: Hillary – the ex-magazine editor turned housewife pining for her career; Demi – the shy, put upon mother in a difficult relationship; Connie – the wealthy party girl who can’t get enough of new men, despite the ring on her finger… If you’re thinking Sex and the City, don’t. You’re getting way too excited.
Cappuccino Girls follows storylines that are, to some extent, emotionally tugging, hitting home quite literally for mothers and wives who have let these roles bury who they really are underneath. Relevant, in this age of working, yummy mummies who are expected to have it all, do it all and stay a size 10. At times, I even found myself choking up, identifying with the characters on the glamorous looking stage.
The music, composed by Mal Pope, is mostly excellent, though definitely cheesy in places! Some notable numbers are ‘Men are like shoes’ and ‘Millionaire’, which added humour, glitz and were akin to what a girl would expect from a sparkly show like this. The first act ended with the poignant ‘How Did I Get So Small?’, sung by all three women, Cerian Bidder as Hilary showing a remarkable talent for pulling the heart strings and tear ducts with her surprisingly strong voice – this song was hard hitting and, at this point I thought we would really be in for an exciting second half, full of conflict and perhaps even intrigue, the narration from Eddie hinting that their friendship may not last through their troubles. I was disappointed when the story continued its steady pace, and the friendships went untested. Despite this, Claire Hammacott’s performance of the empowering ‘Today’s My Birthday’ was beautifully played out, adding another layer to Demi’s character at least, whose development was the most significant of the show.
The issues, however, are not developed enough to carry the whole performance, and the lack of tension leaves you feeling like there’s something big missing…or that you’ve just witnessed a musical version of a slow week on Corrie… In fact, the content was over-told, and the entire piece could be cut by at least 45 minutes whilst maintaining the same (if not creating a bigger) impact. Despite this, the direction of Kathryn Rice pulled out great performances from the female cast, and Connie’s story not being well constructed does not stop us seeing Catherine Morris’s talents.
The two male players take on numerous parts, Phillip Arran believable as each girl’s husband and Maxwell James doing a good job in all the extra bit parts. The variety of accents Arran takes on is problematic though, and the transition between one to another is not smooth, though ‘snaps’ to the man for stamina as there is hardly a moment when he is not on stage or acting as a voiceover!
For a show not in its first run, I was surprised to find that the sound design still needed some work, with radio mics too often fading in late, leaving gaps in dialogue and sometimes missing the start of songs.
The set design was wonderfully girly, the black and pink theme continued through from the foyer to the theatre space, and being sat in the café with the characters brought you close to them, enhancing the atmosphere created by the lighting and decor; a nice variation on the stuffier, large scale musicals where you never feel quite so ready to relax. (A waitress or two taking cocktail orders throughout the show would not have gone amiss!)
Mal Pope has successfully created a backdrop against which the lives of these women can cross, showing the 90% female audience that they are not alone with their problems in life and that, in typical chick flick style, it’ll all turn out well in the end…
Pornography YC review
Directed by: Mathilde Lopez
Written by: Simon Stephens
Seen at: Chapter Arts Centre, 27th April
An intermingling of stories hinting at deep passions and perverse thoughts, Pornography allows us to glimpse the inner transgressive nature of a diverse selection of Londoners, during the summer of 2005.
The effective use of the senses really helped bring this piece to life and engulf the audience in the moment, with sounds not just coming from the background music, but from sex scenes issuing out of an older woman’s TV set, or the movement of staging which was, at all times, fully incorporated in the performance – also, importance placed on sections of the text as, within a monologue, the characters grab a microphone and emphasise their utterings. Blackouts, with hundreds of pieces of paper falling from the ceiling signalled high impact moments, and put the audience under the falling skies of London – made us feel the chaos the characters felt in their everyday lives, the 7/7 bombings far from their thoughts.
Each character seemed to be searching for something – chasing desire or simply relationship; to be beholden to someone. This encapsulated the loneliness of the city which, even during moments where characters shared scenes, was often emulated by their conversation: A brother talking of empty but beautiful museums; the sister (Dinah Olajire) spouting monologues about society that are empty of sentiment; the lecturer (Richard Elfyn), so in need of companionship that he bribes a student into his flat and attacks her; the widower (Sharon Morgan) who is so unused to conversing with people she physically shakes with fear when the postman rings the bell, but is drawn into contact with a stranger by following her nose to barbequed chicken; the teenage boy (Gwydion Rhys) who develops such an attraction to his maths teacher he stalks and eventually threatens to stab her; the mother who ruins her companies chances of winning a bid to inject some excitement into her life – perhaps her husband will notice her and her new gold sandals if she tells him she’s been fired; the suicide bomber who decides to leave his wife and children behind, but for what cause?
As the set is pushed and broken apart we see the lives of these characters spiral out of control with issues of incest, violence, sexual deviancy and destruction played out, leading to the climactic moment where the bomber takes his final journey through the city. The tumult of the music at this point drowned out much of what was said, and Jade Willis’s speech faded in insignificance against the sounds, but the foreboding sense of what was to come, and how it might further affect the lives of the characters we had, if briefly, grown to care for, was clearly conveyed.
Mathilde Lopez’s daring style makes this a dynamic piece of theatre, if a little ‘out there’ for those used to a more conventional theatre experience. With exceptional performances from Gwydion Rhys and Sharon Morgan who bring out some true human humour, along with Richard Elfyn, this is an interesting performance it would be a shame to miss.
Pornography is currently touring numerous venues around Wales, with their final performance in Abergavenny’s Borough Theatre on 19th May.
Written by: Simon Stephens
Seen at: Chapter Arts Centre, 27th April
An intermingling of stories hinting at deep passions and perverse thoughts, Pornography allows us to glimpse the inner transgressive nature of a diverse selection of Londoners, during the summer of 2005.
The effective use of the senses really helped bring this piece to life and engulf the audience in the moment, with sounds not just coming from the background music, but from sex scenes issuing out of an older woman’s TV set, or the movement of staging which was, at all times, fully incorporated in the performance – also, importance placed on sections of the text as, within a monologue, the characters grab a microphone and emphasise their utterings. Blackouts, with hundreds of pieces of paper falling from the ceiling signalled high impact moments, and put the audience under the falling skies of London – made us feel the chaos the characters felt in their everyday lives, the 7/7 bombings far from their thoughts.
Each character seemed to be searching for something – chasing desire or simply relationship; to be beholden to someone. This encapsulated the loneliness of the city which, even during moments where characters shared scenes, was often emulated by their conversation: A brother talking of empty but beautiful museums; the sister (Dinah Olajire) spouting monologues about society that are empty of sentiment; the lecturer (Richard Elfyn), so in need of companionship that he bribes a student into his flat and attacks her; the widower (Sharon Morgan) who is so unused to conversing with people she physically shakes with fear when the postman rings the bell, but is drawn into contact with a stranger by following her nose to barbequed chicken; the teenage boy (Gwydion Rhys) who develops such an attraction to his maths teacher he stalks and eventually threatens to stab her; the mother who ruins her companies chances of winning a bid to inject some excitement into her life – perhaps her husband will notice her and her new gold sandals if she tells him she’s been fired; the suicide bomber who decides to leave his wife and children behind, but for what cause?
As the set is pushed and broken apart we see the lives of these characters spiral out of control with issues of incest, violence, sexual deviancy and destruction played out, leading to the climactic moment where the bomber takes his final journey through the city. The tumult of the music at this point drowned out much of what was said, and Jade Willis’s speech faded in insignificance against the sounds, but the foreboding sense of what was to come, and how it might further affect the lives of the characters we had, if briefly, grown to care for, was clearly conveyed.
Mathilde Lopez’s daring style makes this a dynamic piece of theatre, if a little ‘out there’ for those used to a more conventional theatre experience. With exceptional performances from Gwydion Rhys and Sharon Morgan who bring out some true human humour, along with Richard Elfyn, this is an interesting performance it would be a shame to miss.
Pornography is currently touring numerous venues around Wales, with their final performance in Abergavenny’s Borough Theatre on 19th May.