The first original TV drama of 2020 to emerge from Wales is a short one-off piece called Handstand. It may be quirky and slightly clichéd on the surface, but there is a dark underbelly that gradually reveals itself over the course of half an hour. Director Peter Watkins-Hughes has chosen to shine a spotlight on domestic abuse through what is essentially a love story between the hardworking and compassionate Luke (Darren Evans) and his new neighbour Sarah (Mabli Jen Eustace).
Evans and Eustace demonstrate a wonderful onscreen chemistry from the get-go, their characters’ first meeting being the perfect mix of socially awkward and humorously sweet. The telling camera angles and silently knowing looks to one another add to the sexual tension between them, whilst the synth-pop soundtrack and cinema setting coat their relationship in youthful possibility and nostalgic innocence respectively. It is this portrait of young love that makes the turning point in the story all the more dramatic and affecting, as Luke hears the raised voice of Sarah’s father, Alan, resonate angrily through the ‘shockingly thin’ walls of his bedroom. What follows is a moral dilemma centred on the public and private dichotomy, where the question of intervention is explored rather well, given the drama’s brief running time. Christian Patterson is excellent as the two-faced Alan, whose jolly exterior slowly slips away to reveal a manipulative man whose obsession with power and control is ultimately his undoing.
As a stand-alone piece, Watkins-Hughes has created something that is both entertaining and informative. It is also educational insofar as it deals with the subject of domestic violence, thereby reflecting the three Reithian ideals that the BBC was founded on. I believe that this is important to highlight as the BBC and its licence fee comes under increased scrutiny and ever sharper criticism. There is no doubt a conversation to be had about its future funding model, but I believe Handstand is an example of what publicly-funded broadcasting does best, supporting projects that have no commercial value but nevertheless tell important stories that need to be heard. It is also why public service broadcasting is needed, because without it, I fear that the voices wanting to tell such stories in Wales may be bereft of opportunities to do so in a media marketplace driven solely by profit.
In November 2018 we published an article in response to the new Arts Council Wales Corporate Plan “For the benefit of all..” with a range of contributions from Creatives in Wales. We revisit this area in the updated article below with responses from one of the creatives featured in the article as well as an additional contribution.
Our mission statement at Get The Chance is “Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.”
We were very pleased to see some of the priority areas in the new Arts Council Wales, Corporate Plan, 2018 – 2023 “For the benefit of all”
In particular we were interested in Commitment 2 below
We will enable a greater number and a wider diversity of people to enjoy, take part and work in the publicly funded arts.
ACW then go onto make a series of intentions (below) for where they want to be in 2023 (5 years)
We will be able to demonstrate clearly that all our funding programmes promote and contribute to equality and diversity
There will be a narrowing of the gap between those in the most and least affluent social sectors as audiences and participants
We will develop the creative work of disabled artists by funding “Unlimited” commissions and developing a scheme similar to “Ramps on the Moon” operated by Arts Council England
We want to introduce a “Changemakers” scheme placing BAME and disabled people in senior executive positions in the arts
We want to see a doubling of the number of disabled people in the arts workforce
We want to see a doubling of the number of Black and Minority ethnic backgrounds in the arts workforce
We want to have introduced an Arts Council Apprenticeships scheme designed to provide opportunities for people from diverse backgrounds
We will have achieved a trebling of the number of BAME and disabled and on APW boards of governance
I struggle to fully engage this as a response. My recent experience has revealed that there is certainly a surge to include diversity in all its forms on boards and in creative spaces and projects. However, this new ‘interest’ feels more like organisations ‘needing’ to diversify rather than ‘wanting’ to diversify, in order to secure their future and funding. I am hopeful though.
Artistic Director, Taking Flight Theatre Company
What a year of change 2019 has been. For Taking Flight it has seen the company move away from the annual Shakespeare production to more indoor, venue-based work.
peeling by Kaite O’Reilly, opened on International Women’s Day in March at The Riverfront, Newport and then toured Wales and England and was a huge success earning 4 and 5* reviews.
The Guardian stating “Accessible theatre? Do it properly – do it like this”. Following this Taking Flight was invited to Grenzenlos Kulture festival in Mainz, Germany as an example of best practice in accessibility. It was a huge tour and highlighted once more the inaccessibility of much of Wales; accessible accommodation is very hard to find, and some venues struggled to meet our access riders. However, this did lead to some very inventive solutions involving temporary dressing rooms created with flats, curtains and even a marquee! Obviously not the ideal but with our hugely creative stage management team always looking for solutions rather than the problems and the support of venues we made it work. High applause to Angela Gould at RCT Theatres for her work in this department.
One of our lovely actors toured with her dog who was a lovely addition to the team. Max is a therapy dog; many places we visited were only familiar with guide dogs, which made us realise how much there is to learn about the different types of assistance dogs.
Everything we learnt during this extensive tour will feed into the work we have been developing towards a scheme like the Ramps on the Moon initiative. A scheme like this can never be replicated, but the interest and passion from venues in Wales to be involved is overwhelming. Creu Cymru, hynt and Taking Flight have been in ongoing discussions about ways to make this happen. We read with interest that it was also a priority for ACW and have begun conversations with them around a similar scheme. As we have been researching and pushing for this to happen since ‘Ramps’ began in 2016, we are passionate that this becomes a reality. Taking Flight has just received funding for their next production, Road, at Parc and Dare, RCT Theatres and we hope this partnership will be the first step. Taking Flight will give support to participating venues to be confident to manage and produce inclusive work, to provide excellent access and a warm welcome to all- both audiences and creatives.
While peeling was out on the road in the Autumn, we also remounted the hugely successful and totally gorgeous You’ve got Dragons. After a run at WMC we hit the road again for a UK tour including a week run at Lyric Hammersmith which was almost sold out and incredibly well received. The desire for inclusive and accessible work for young people is growing. Watch this space for more news on You’ve Got Dragons next adventure.
Taking Flight has often dreamt of setting up a Deaf- led Youth Theatre for D/deaf and Hard of Hearing young people and with funding from BBC Children in Need we have finally done it. Led by the tremendous Stephanie Back in BSL and English, the youth theatre began last week and the results are already fabulous. The Wales Millennium Centre are our amazing venue partner and host the weekly sessions for D/deaf children aged 4-18. We have been overwhelmed with interest in this project, demonstrating that this has been needed in Wales for a long time.
There has also been a surge in interest from companies and individuals wanting to consider access while writing funding applications. There is a general excitement around making work accessible. There are some brilliant intentions and I’ve had exciting conversations with companies about different types of access and have been able to recommend consultants and access professionals.
The ground has been fertile for change for some time and there is much more inclusive and accessible work being created here than when we first started 12 years ago. Theatres are also much more interested in programming diverse work and many have invested in Deaf Awareness training with Taking Flight (Led by Steph Back).
There is a real desire to diversify audiences and welcome them to theatre spaces. Taking Flight’s next symposium on 28th Feb at Park and Dare RCT theatres on Relaxed Performances brings the brilliant Jess Thom, Touretteshero to Wales to discuss ways to provide the warmest possible welcome to those who may find the traditional etiquette of theatre a problem.
There has been a surge of work featuring D/deaf and disabled performers, productions like Jonny Cotsen’s Louder is Not Always Clearer, Leeway Productions Last Five Years and Illumine’s 2023 really engaged new audiences and the venues have really built on this success. There have been more productions that embed access in a creative way, a gorgeous example in Gods and Kings by Fourinfour productions with integrated BSL from Sami Thorpe. I had lots of fun working with Julie Doyle and Likely Story integrating BSL interpreter Julie Doyle into Red. Companies are choosing to interpret, audio describe or caption all the shows in a run rather than just one which is really encouraging and promoting more equality of access to shows.
So, the will to make accessible work is absolutely there, the best of intentions are definitely there and, now the funding for access is factored into budgets, the funds are usually there. However, why is it still access that falls through the cracks, gets pushed aside or forgotten as a production approaches opening night? I hear stories of interpreters and audio describers who can’t get into a rehearsal space to prep or are placed somewhere on stage that is neither aesthetically pleasing nor practical. It can still sometimes feel like access is something that needs to be ticked off a list in order to fulfil a funding application.
I am absolutely sure that this is not the intention; but we are all so overstretched, one person is often doing multiple jobs (especially in small companies) and when no one is directly responsible for access or it simply forms ‘part’ of someone’s role. So those best intentions and exciting plans are really hard to fully achieve. Taking Flight are exploring this lack of provision for access co – ordination with Bath Spa University so watch this space for the results of our research… The next generation of theatre makers are coming, and they really care about making work that can be accessed by all – that makes me happy.
3) http://getthechance.wales/2019/03/02/review-how-to-train-your-dragon-3-by-sian-thomas/. End of an era! I loved this series when I was in my early teens and kept a close hold of it all the way until the end. I cried when I saw it in the cinema, at the end, when Hiccup and Toothless went their separate ways and then saw each other again a good number of years later. An amazing film about people and creatures and their relationships. Also, visually stunning. Animation is a top tier medium.
Personal: I finished my first year of university this year, and did so well in my classes that the university gave me a cash prize. There was a chance for people to win £1000 by getting a really good mark for their first year, and I had no idea about it until I received an email saying I’d won. Which was amazing news! It made me really proud of my both my actual work and my work ethic from the first year. It was a big academic confidence boost!
With such a cornucopia of goodies on offer theatre-wise during the past year, it isn’t easy to single out just three. For my money, two of these have to be musical theatre productions: Kinky Boots and Les Misérables, both staged in the Donald Gordon Theatre at the Wales Millennium Centre.
First on my list has to be Les Misérables. Cameron Mackintosh’s production, first staged
almost a decade ago to celebrate the 25th anniversary of Les Mis,
once again proved what a sure-fire winner it is. Grand theatre at its best, top
of the tree for music, lyrics, storyline et al.
A privilege to watch, all presented by a multi-talented cast, among them
Welsh actor Ian Hughes as a nimble-footed Thenardier who brought the audience
to its feet on opening night with his uproariously funny rendering of Master
of the House.
Closely followed, I must admit by Kinky Boots which
was, start to finish, a joy to watch. So
much more than “Just another musical,” it has at its heart a subject which nowadays
is treated in most cases empathetically but which was by any means the case
only a few short years ago. I refer to
transgender. Kinky Boots tackles this head on, with the
occasional heartbreak mixed with the fun and verve which is characteristic of
this amazing show, all dished out by a superb cast.
On to number three – also at the WMC, home of Welsh National
Opera who once again proved what a top-notch company they are with their new
production of Bizet’s Carmen. An operatic sizzler with wonderful
music, the story of the torrid but doomed relationship of the gypsy girl Carmen
and her solder lover is given a contemporary twist by director Jo Davies which
works brilliantly, with the added advantage of French being the native tongue of
mezzo soprano Virginie Verrez in the title role. With the mesmeric Habanera in
Act I, wonderful music and at times gut-wrenching libretto, this Carmen is
proof – if, indeed, proof was needed – that a new slant on an old favourite can
And now to the best “Cultural experience.” I am going to go off piste here, for to my
mind it has to be the film Solomon and Gaenor, given a twentieth
anniversary screening at Chapter with the film’s writer/director Paul Morrison,
producer Sheryl Crown and leading lady Nia Roberts on stage afterwards for a Q
and A. The Oscar-nominated and BAFTA
award-winning film, with dialogue in Welsh, English and Yiddish, set in the
Valleys back in the time of the Tredegar riots, tells the story of forbidden
love between a young Jewish peddler and a young girl from a strict Chapel going
Pinpointing how attitudes have changed, despite still – as Morrison commented during the discussion afterwards – having a way to go, Solomon and Gaenor, shown as part of the Jewish Film Festival, is riveting from start to finish in a drama that is upfront and unique in its presentation.
2019 was a brilliant year for Welsh theatre, a real
abundance of riches across the stages of Cardiff. American Idiot started off
the year with a bang, Peter Pan Goes Wrong brought comedic chaos, and Curtains
brought the kind of vintage charm you can only usually find among the bright
lights of Broadway and the West End. Narrowing it down is a tricky task, but
there were a few shows that stood out among the rest for me…
#3: The Creature (Chapter Arts Centre)
In what daily seems like an increasingly unkind, apathetic world, The Creature was a beam of hope in a dark time that didn’t shy away from trauma or tragedy but which held with it the promise of a better future – if we fight for it. It seemed perfectly tailored to me and my research interests – a modern take on the criminal justice system via a pseudo-Frankenstein adaptation, it hooked into my soul and still hasn’t let go. I’m eagerly anticipating the future endeavours of this fantastic creative team.
#2: Cardiff Does Christmas – Cinderella (New Theatre) and
The Snow Queen (Sherman Theatre)
The Christmas shows this year were the best I’ve had the privilege of seeing in quite some time. Cinderella was the show that reignited my long-dormant love of panto and saw the season in with festive cheer, while Sherman Theatre’s The Snow Queen was brimming with Christmas magic and a sweet tale of friendship, courage, and the fight against seemingly-insurmountable odds – a message we could all use about now.
#1: Hedda Gabler (Sherman Theatre)
It’s become increasingly apparent to me that the Sherman is
the soul of contemporary Welsh theatre – consistently producing creative,
fascinating and timely plays ‘rooted in Wales but relevant to the world’, as AD
Joe Murphy said of his artistic vision. Their staging of Ibsen’s Hedda Gabler was
an utterly stunning adaptation that haunts me to this day – and Prof Ambreena
Manji and I were blessed to be able to bring our Law and Literature students to
the production as we’re studying the text this year. You know it’s a roaring
success when the students want to write their coursework on Hedda!
Reviewing for Get the Chance has been my cultural highlight, which includes being continually in awe of the kindness and generosity of the Sherman, New Theatre and Chapter: the future of Welsh Theatre is in good hands indeed!
Losing Home, My 2019 Highlight, Les Misérables, Eva Marloes
As 2019 comes to a close, so vanishes the last hope of stopping Brexit. It is decided. Parliament has agreed our ‘divorce’ from the EU. Some feel elated, some relieved, some dejected. The morning after the 2016’s referendum, some people in Britain woke up and felt stripped of their very identity. The EU question was never about rules and regulations, trade agreements or sovereignty; it was about identity. In the political debate, only the Leave side appealed to identity. The European identity of many Remainers was and still largely is neglected. This is what makes Mathilde Lopez’s interpretation of Victor Hugo’s Les Misérables so poignant. It gave voice to the emotional attachment to the EU some people have always felt or have begun to feel once that belonging came under threat.
The beauty of Lopez’s take on Hugo’s masterpiece lies in interweaving the ‘small’ lives of individuals with the ‘big’ events of history. It is personal and political. It speaks of today by reaching into the past. With Les Misérables, Lopez brings together the battle of Brexit with that of Waterloo. It is a tragi-comedy that makes the lives of ordinary people part of history. Amidst the blood of Waterloo, the crisps devoured while listening to the referendum results, and the summer music of holiday-makers, we experienced the banality and significance of the Brexit decision.
The play was fun and moving. It was original, innovative, and thoughtful. It wasn’t perfect and wasn’t the best show I’ve seen in 2019 (that should go to WNO’s Rigoletto), but it was the most significant of what the country is going through. By mixing the escapism of the holiday feel with the horror of Waterloo and the shock of people watching the referendum results coming in, Les Misérables captures the closeness and distance we feel when caught in events of historical significance.
In one night, something changed radically. For European citizens in Britain, Brexit has created insecurity about their status, brought extra costs to get documentation that might allow them to stay, and has made them vulnerable to attack and insults. They don’t belong. The nostalgic identity the ideologues of Brexit have conjured is too narrow and homogeneous for some British people too. They too don’t belong. As Britain seeks to close its borders and refashion a nationalistic identity, some of us have lost their home.
In my review of Lopez’s Les Misérables, I wrote that the play appealed to faith, hope, and love. It was an acceptance of defeat without despair, a search for strength in love, not distance. Hugo described Waterloo as ‘the beginning of the defeat.’ As the first phase of Brexit concludes, it is tempting to use Hugo’s words for Brexit as the defeat of the dream of an inclusive and welcoming society, but it is not over. Nostalgia is incapable of meeting the challenge of the present, let alone of envisioning a future. That is for us to do. It is for all of us to imagine our future and rebuild our home. It begins now.
(My behind the scene article on the production Les Misérables can be found here)
Bodyguard at The WMC
The biggest and boldest production I have ever seen with music that has become iconic.
Meet Fred, Hijinx Theatre Company
A fantastic piece of theatre thy showed the true meaning of inclusivity while also showing an unique art form of puppeteering.
A fantastic and modern piece of theatre that literally gave a voice to someone who doesn’t have one.
Pavilion, Theatr Clwyd
A sharp and witty ode to small town Wales, Emily White has produced a great piece of engaging drama out of the mundane, the everyday. With recognisable characters brought to life by a hugely talented cast, this represents an excellent debut for a Welsh writer whose talent is sure to be noticed.
Writer Fflur Dafydd continues to demonstrate why she is one of Wales’ foremost scriptwriters with this intriguing mystery drama. Her intimate characterisation and weaving narrative kept viewers gripped right to final moments of its eight-part run.
A really important and culturally significant film, providing a fascinating insight into the Welsh language music scene. Huw Stephens deserves huge credit for spearheading it. I urge you to see it if you can’.
Cotton Fingers, NTW by Rachel Trezise and On Bear Ridge, NTW by Ed Thomas, both at Sherman Theatre, Cardiff. Having returned from University in Brighton this year, it was brilliant to see the Sherman Theatre flourishing as much as it was when I left Cardiff 3 years ago. The detail that went into Cai Dyfan’s set design for On Bear Ridge was incredible to witness. His level of craftsmanship, often only found in commercial and west end theatres, was a delight to see on a smaller, regional stage.
Meanwhile, a more stripped back Cotton Fingers let its script do all the talking and was skill-fully delivered by actor Amy Molloy.
Shout out must go to Katherine Chandler for her play Lose Yourself, also at the Sherman Theatre. Although I did not review this play, it was definitely one of my highlights of 2019. Gut-wrenching for all the right reasons, its finale left the audience silent. I’ll never forget heaviness in the air at the end of play felt by everyone in the audience who just experienced something very important together.
Personal cultural event of 2019: Slowthai at Glastonbury – never before have I been so instantly hooked on an artist I’ve never listened to before. The way he riled up the crowd with his boisterous, unapologetic stagemanship was incredible to witness and I haven’t stopped listening to him since.
Christmas Carol, Theatr Clwyd
A thoroughly enjoyable interactive performance that communicated much of what Dickens intended yet had a lightness of touch, an impish humour and a sense of occasion that made it well suited to a Christmas show.
I love that the National Museum, Cardiff is starting to put on more and more special events. It makes it even more exciting to go along to a trip to the museum. Museum entry is free, with some additional events requiring to buy a ticket beforehand.
I volunteered for the Museum Late Space. It was in evening after official closing time, with multiple entertainment, bar and drinks, DJ and music, lots of different acts on around the building and more! Great night! I noticed there is Museum Late Dippy Dino theme in January, early 2020. I may see if I can volunteer for that too.
Leading up to this Christmas, a weekend in December, the museum has been putting on the classic The Snowman screenings in the Reardon Smith Theatre, located on the side of the museum.
Walking down the side of the museum, I was a bit miffed at first as I saw steps and wasn’t sure how to get to the side door, eventually with some more st’roll’ing around the back of the museum, there was area with no steps to the Reardon Smith lecture theatre entrance. Maybe a sign would have made it more clearer.
We were greeted by cheery helpful staff, pretty lights and trees, and given a popcorn each. They also offered help to carry them to our seats which was very thoughtful. We were given white fluffy snowballs too, which they said to keep for a surprise at the end.
We went into a door that avoided the steps, that led to the very top of the lecture theatre which had an area for a few wheelchair users.
They made the atmosphere so cosy, blue lights to have that cool cold effect, and projected falling snow on the sides, Christmas music playing, on the stage they had it set up with a few Christmas trees and presents, with the big back screen where The Snowman would be shown.
I’m sure everyone enjoyed digging into their popcorn, a lovely space to watch the snowman, some giggles from children when the cat is scared of the snowman and when the snowman makes fruit faces. My children stood up and put their arms out for the ‘Walking in the Air’ song and scene, pretending to fly.
At the end they had a snowman come on stage for a snowball fight and photos.
Definitely a hit with the children and adults alike!
I look forward to more special events at the National Museum of Wales Cardiff.
I walked into Kinetic Theatre Arts performance of Ghosts knowing very little about the story. I obviously knew it was based on the movie which involved Patrick Swayze and I was familiar with the iconic pottery with a ghost scene but apart from that, I knew nothing. So I was really excited to watch this production and it did not disappoint. In fact, this show was one of the most professional feeling amateur shows that I have ever seen. Every single person who was involved in this show clearly worked extremely hard to make sure everything was perfectly ready for the audience to watch.
The lead character of Sam Wheat is a massive role to take on especially in this musical as it was played in the movie by the legend Patrick Swayze, on top of this in the musical it is a very difficult part to perform as the vocal ability required is very high but Jack Williams (who played this character in Kinetics performance) did seem fazed in the slightest. He was boldly confident throughout, stayed in character constantly while on stage, his singing was amazing and he also appeared to have a great relationship with all the other cast members which was clear to the audience through the dynamics on stage. He clearly has a bright future ahead of him and is some to look out for as I know he will make it big someday. The only issue I have with this character is not based on Jack’s portrayal but rather a creative decision. There was a guitar on stage which was used for the song ‘Unchained Melody’ and while I understand the importance of guitar playing in this song it was quite distracting for the actor to be mining playing the guitar. This is not an issue with jacks acting as he tried very hard to make this look as realistic as possible but it was clear it wasn’t him playing which was very off-putting for the audience.
Molly who was Sams love interest in this story was played by Sophie baker who blew everyone away with her incredible singing. She posses an extremely strong powerful voice and was able to manipulate the audience’s emotions perfectly. One of the stand moments for this character appeared in the song “With You” which was a pure showcase of Sophie singing talent. It was beautifully performed and had many audience members very close to tears. Despite the power of Sophie’s voice, she was also able to balance the more vulnerable and weaker side of character excellently. Jack and Sophie clearly have great chemistry as there two characters gave a realistic and believable performance as a couple which was fantastic to watch. There duet ‘Here Right Now’ was impeccable. The voices blended beautifully together to deliver this emotionally charged song in a way that it was heartfelt and felt real to the audience which is obviously very important for any performer.
Sam and Molly’s closest friend in this story is a character called Carl who was played by Taylor Morris who is also an extremely talented performer. Taylor has a kind and lovable air to him which he utilised in this character perfectly and made the shocking revelations even more impactful. The partnership of Taylor and Jack was clearly very strong and they have wonderful chemistry with their friendship clear to see on the stage. Their two voice combined beautifully in songs which they appeared together and they are I excitedly wait for another production was these two stars in the making get to work together again. Taylor managed to portray both sides of the character perfectly as well as having the internal plucky desperation that fitted his character to a tee. This role played on every one of Taylor’s strengths and he seemed to excel in a darker role than I am used to seeing him in. With this in mind, I am excited to see where he ends up and look forward to seeing him play some more sinister roles specifically in the future.
The highlight in this show was Oda-mae who was played by Rhian Holmes. I have to be honest at first I was apprehensive of the iconic role (originally played by the remarkable Whoopi Goldberg) being adapted to fit the cast available but Rhian’s portrayal was OUT OF THIS WORLD! The creative team who developed the scene in which Oda-mae makes her big entrance absolutely nailed it. This scene did everything it needed to and more. From the inclusion of two sparkly dresses support actresses (Taylor-Paul and jasmine Muscat) to the choreography, costumes to Rhian’s actual physicalisation of the character everything was just so spot on. This character goes on a journey from the audience perspective from a clear fraud and theft to a loveable character by the end of the story and this is done, I believe mostly through her songs. Songs such as ‘Out of Here’ and ‘Do you Believe?’ were excellently performed by Rhian who had the audience laughing through with her quick wit and sarcastic nature as well as demonstrating here wonderful singing. Rhian is clearly a very talented and professional performer as there was a small mistake with a prop and instead of her letting that put her off, she simply continued the scene, swiftly turned her back to the audience when the prop was in use which many people in the audience would not have noticed something was wrong which goes to demonstrate Rhian quick thinking and professionalism. Ignoring the performance side of this character he best thing about Rhian’s portrayal was that she was evidently enjoying her time on stage and was having fun in the role. She had a sensible sense of joy and fun which was the icing of the top of this wonderful cake.
Lewys Ringham’s portrayal as the hired hand/thug Willie Lopez was extremely good that it was actually unsettling for the audience when he appeared on stage. He provides one of the most shocking moments in the entire show which had an audible gasp from the audience. My only qualm with this character is that is was clearly written for a Mexican influenced actor with the vocabulary and vernacular clearly demonstrating that but instead in this version, Willie spoke with a Brooklyn accent which obviously adds to the threading nature of the role but was a bit surprising to listen to. The subway ghost in this production was played by Ethan Davies who also gave a very aggressive and intense portrayal of the character. Due to the costume and characterisation, this roles did give off Neo (from The Matrix franchise) vibes which actually worked excellently. His song ‘Focus’ was very entertaining to watch while also being very tense which is very difficult to do and show Ethan’s talent for performing. In general, the entire show contained a superb ensemble who clearly worked just as hard as and felt just as valued as the lead roles.
I was surprised at how an amateur production can feel so professional and nail all the technical aspects of this massive show. The opening set of a newly discovered room was incredible. It was everything it needed to be to demonstrate a room while looking artistic and stylish. This amazing set did, however, make some of the other backdrops of the scene a little disappointing but the standard raised again during the official based scenes. The set used for the scenes that take place in a train was beautiful and allowed the actors to have a space to perform complex fight scenes while the audience can clearly see they took place in a train. This was again incredible to see. The actual death of the characters were somewhat confusing. After they died they were carried off by mysterious men in black which were cleverly done but the actual deaths were unusual. Each person had a sort of body double (although they looked nothing like the person they were supposed to represent) and when a character died the body double has become a dead body and the original actor would become a ghost. While I understand why this was done and I personally can’t think of a better alternative, this was very confusing to follow for the audience. We also had someone who was evidently missing a prop at the beginning of act two and while they didn’t appear dazed and they continued the number anyway, it was clear a prop was missing which did look strange from the audience perspective.
In general, this is an incredible show that had a truly professional feel, and Insanely talented cast and obviously an insane team working behind the scenes. There isn’t many amateur productions that I have seen where the cast receive a standing ovation from every member of the audience. I would rate this show 4 and a half stars and would recommend everyone to watch ghost before it departs and keep an eye out of Kinetics next production as they are not to be missed!
Many people have said that you can’t call yourself a true musical theatre fan unless you have seen Les Miserables and I have to be honest I watched the movie for the first time two weeks ago and while that was good, this production at the Wales Millennium Centre knocks spots off the classic film. The show managed to touch on many keys moments from the film for people who are only familiar to Les Mis through the film (myself included) but also managed to alter it enough as a stage show to be different to the other versions going around.
The thing about this show is that most people have heard of it or seen it and as there have been so many adaptations and versions the bar is already set very high. But still there manages to be a massive excitement about the show, inside the actual theatre you could feel the excitement in the air before the show even started and even during the interval. After the show, there was a massive buzz that every single person could feel. It says a lot about a show where every single person in the audience gives a standing ovation at the end. Like the film, this musical is an opera and so there is no dialogue in the entire show but instead, the whole thing is sung. This is obviously a fantastic way to promote this genre as many people say “I hate opera” but at the same time ignore musicals such as Les Mis and Jesus Christ Superstar as operas. Seeing an opera in mainstream musical ‘world’ is obviously great and it may encourage people to watch other operas when they can.
One of my criticism for the film is that the time frames are at times hard to follow (I enjoy laughing about this fact in the film, every time I looked at the screen Hugh Jackman was a different age) but this stage version managed to make this one setting easy to follow. When the opening show discusses the backgrounds of certain characters, there was a blackout with the title ‘Les Miserable’ spread across the backdrop sort of like there would be in a film etc. This was obviously done to signify that the opening scene took place before the main part of the story and allows the audience to take in key and important details that will reappear later in the show. I never thought that Les Mis would be a very tech-based show as I thought it was just about authentic drama and singing but the effects they used specifically in this production were incredible. Some key technical aspects to look for in the show were how they managed to excellently stage the gunshots with lights, how a certain iconic suicide is staged and the use of high-raise buildings on stage. These buildings were flawlessly used to help cover the scene changes that happened while other scenes were taking place which was a genius way to keep the show going while also being beautiful to watch.
Every member of the cast was fantastic in this production and a special appreciation needs to give to the ensemble of this performance who clearly worked very hard both acting and singing was to support the key characters. The choruses singing was amazing and really helped to add to the drama of the show. A lot of the pressure was set on the shoulders of Dean Chisnall who took on the role of Jean Valjean as this is one of the most important roles in this musical but Dean seemed to reveal in this pressure and turned out an excellent performance. His voice was incredible throughout but a highlight for me was ‘Bring Him Home’ which was so powerfully performed that many of the audience members were moved to tears. He also managed to portray the various stages of this character perfectly including the later part of his life which shows Dean’s range of acting ability.
Marius is the character which is Supposed in love and Pursuing the daughter of Jean Valjean. This character was played by the fresh-faced Felix Mosse who fitted the role perfectly. He has a massive sense of naivety, innocence and likability about him which is perfect for the love-hungry character. Also, Felix has a youngish appearance which worked really well with this character who is apparently a student. Not only this but yet again Felix was a very talented singer who performed songs such as ‘Empty Chairs, Empty Tables’ both incredibly heartfelt and beautifully. His duet of ‘little fall of rain’ alongside Frances Mayli McCain (who played Eponine) was incredibly emotional to watch and these two clearly have great chemistry on and off stage. Felix Mosse is an actor who I look forward to seeing in future productions as I believe he has a very bright future in the performing industry. Nic Greenshields, who played Javert was absolutely incredible. His physicalisation as Javert was perfect as it showed his sense of superiority over the rest of the villagers. His voice was that of an authoritative person but also he managed to blend to the desperation of the character beautifully. Nic clearly has a high level of professionalism and experience which he truest showcased in this role. The highlight of his character, however, was their singing inability. ‘Stars’ was out of this world! It was beautifully performed with a strong sense of power behind it. Nic excelled in this role and I cannot wait to see where he end up in the performing world as he clearly has massive talent.
The two gems in this performance were Thenardier and his wife (who were played Ian Hughes and Helen Walsh respectively) who delivered many of the comical moments in this show. There were hilarious throughout and didn’t miss a single joke which can be very difficult in musical. ‘Master of the House’ was an excellent number that was not only performed excellently but also involved an astonishing sleight of hand tricks which wowed even me. The quick movement of and stealing of objects was a marvel to watch and clearly they had worked hard to make this scene as smooth and flawless as possible which should be applauded. Also, the musical number ‘Beggars at the Feast’ was also performed by this double act which they performed excellently while wearing the most elaborate and over the top costumes I have ever seen.
Overall this was a near-flawless introduction into the musical world of Les Miserable and it is definitely a musical that I would watch again if I had the chance. This is a show that loves drama and delivers it by the bucket full throughout so if you are into that sort of show them this is definitely one for you. I would rate this show 5 out of 5 stars.
What an incredible first experience of the infamous Les Misérables.
So much thought and care had been given to each and every part of the evenings’
performance. It was this specific attention to detail that really drew the
audience into the world of pre-revolutionary France.
Firstly, the set, Wow! The set used a mixture of visual
effects alongside moving structures to create an immersive experience for the
audience. The onstage set, predominantly wooden, was etched with details. From
small engraved phrases to the layering of different components. The visual
effects truly brought the set to life by adding intricacies to things that
would otherwise be forgotten. Such as the water rippling and the stars twinkling.
But only ever so slightly, just enough for you to question whether it’s really
there at all or just your mind playing tricks on you.
The lighting played such a crucial role within the piece.
Alongside the projected visual effects, it would bring a sense of realism to
what was occurring on stage. An image of the meeting of the revolutionaries
comes to mind. The light seeping through the barred windows, reflecting off the
faces of the Males whilst they walked through the shadows making small talk
with one and another. It was also with moments like the gunshots, where a
bright light would suddenly glare, making the plot more accessible to the
Even in the way the actors spoke it was evident the clarity
and precision in which they gave out their words. Those deemed more common were
usually paired with a Northern accent and those of a higher class with a more
queens English. The use of different accents and dialects allowed clarification
for the audience but also context as to the stereotypes and opportunities in
The use of detail was also not only evident in the voices of
the performers but most predominantly in the ensemble. Each performer held
their own character, with their own physicality and own storyline. One could
easily get lost watching the ensemble, with so many options to engage with. It
was often the more hidden moments happening in the background which would cause
me to smile or question things more deeply.
It wasn’t usually the way in which the text was presented as
to how your emotions were driven. The text tended to set the pace, which kept a
high engagement for the audience throughout the piece. Instead, the orchestra
were key to how you responded to what was occurring on stage. At the moments I
received goose bumps, I realised it wasn’t from the solos. Instead, from the
accompaniment and the resonant quality that it echoed around the theatre
creating an atmosphere unlike no other.
Each member of the cast was incredibly talented and without
one, the piece wouldn’t be the same. It is truly the fine details which make
this piece so magnificent and I predict it’s one of those where regardless of
the amount of times you watch the performance, you would be drawn to different
characters and their own tales each time. There are limited tickets available
for the remainder of the performances but if you do get the chance to go, you
are certainly in for a treat.
It’s mid November, the temperature is dropping, gifts and decorations are out in full force in the shops, Christmas lights are starting to be switched on, what a perfect time to go and see a show. The Nativity the musical, at the Wales Millennium Centre in Cardiff is here. What a start to get into the festive spirit!
We had a fantastic opportunity to go along to experience the smash hit stage musical, from film screen to stage, adapted by Debbie Isitt.
It’s the lead up to Christmas, the children of St Bernadette’s are preparing to appear in their school nativity. Mr Maddens the class teacher, and his new assistant Mr Poppy, a very excitable and energetic teacher, are given the task of organising the school nativity. When out looking for a school Christmas tree, they bump into Mr Shakespeare, a teacher from Oakmoor prep. Mr Madden tells him that Hollywood is coming to their school to film it. The rest of the school hear Hollywood are coming, they are so excited. Mr Madden confides in Mr Poppy telling him it isn’t true, and they embark on a journey to find a way to make it happen!
The cast are incredible, and the talent shining through from the children is commendable. It’s almost impossible not to smile with the humour from Scott Paige ‘Mr Poppy’. I enjoyed the charisma of Charles Brunton on how he portrayed Mr Shakespeare. Polly Parker is played by Dani Dyer (appeared on 2018 Love Island and actor Danny Dyer’s daughter).
My 8 year old son, Cody, came along with me, he found it “enjoyable” and “so fun”. We both liked the projection of the star lights into the audience. It was magical.
On the way down in the lift, Cody asked if we were coming back later in the week to watch it again and said he will take the nativity programme into school with him to show his teachers and friends.
An added bonus to the programme, it had children’s activities inside, colouring, word search, crossword and spot the difference.
Our favourite songs were ‘Hollywood Are Coming”, “Herod The Rock Opera”, “Nazareth” and “Sparkle And Shine”.
Feel good, festive fun for all!
Nativity the Musical is in Cardiff, at the Wales Millennium Centre from Tuesday 19th – Saturday 23rd November.
To Book your tickets and for more information, here is the WMC Wales Millennium Centre website.
They will be in Plymouth next, followed by Southhampton and London.
Undoubtedly, the BBC series, Yes Minister and its sequel, Yes Prime Minister have provided us with many comic moments and fond memories. To recreate that show on stage, doing justice to those original characters yet producing something fresh is a challenge that is met with panache in this show at Theatr Clwyd. A combination of a great script and excellent delivery make this a thoroughly enjoyable evening’s entertainment.
While the script was at times complex and wordy, it captured the spirit of the original TV programme in a contemporary story that was easily understood and well communicated. It struck a balance between political satire and farce that engaged the audience throughout.
The lead actors were true to the characters portrayed in the original series yet not hidebound by them. In fact, theybrought their own persona and comic touch to bear successfully. Of particular note was Peter Forbes as Sir Humphrey whose handling of complex obfuscating sentences was an exercise in memory and diction that was passed with flying colours. Paul Bradley, who for several years has played in TV series like Eastenders and Holby City was an excellent Jim Hacker, producing a comic performance naturally,combining a shambolic ingénue and streetwise politician well. I particularly liked Sarah Earnshaw as political advisor Claire Sutton, who had a confident, relaxed charm as she outfoxed the seasoned civil servants around her.
This was not a production that had me rolling in the aisles but it will live long in the memory and had many one liners that had the audience chuckling. “We are here to serve the people, not to do what is right!’
I would recommend this play to anyone with a memory of the sitcom or who feels a frustration whenever they listen to those politicians who never know how to answer a straight question. That’s probably most of us then. It serves as a good night out and left me with a warm, feel good factor. A thoroughly worthwhile theatre experience.
Hi Sarah great
to meet you, can you give our readers some background information on yourself
I have been dancing since the age
of 3 and have trained in many dance styles such as ballet, modern, jazz, street
dance, freestyle and Cheerleading. I completed the IDTA Dance Teaching Diploma
in Freestyle and Modern Jazz with Distinction and I am qualified Cheerleading
and Fitness Instructor. I have been privileged to work alongside many industry
professionals such as Wayne Sleep and Darcey Bussell.
Since graduating from the University of Manchester, I performed and taught overseas before moving to Leeds to own a dance franchise which involved teaching dance in schools and the wider community.
I was a member of the National Youth Theatre and have gained much Musical Theatre experience over the years. Since recently moving to Aberystwyth I have already acquired many dancing opportunities and teach at Aberystwyth Arts Centre
I have danced since the age of three and despite my peers stopping
dancing in their early teens, I have always had the desire to continue. During
my academia studies at school and University, dancing and the performing arts
has always been an escape for me and a form of self-expression.
You run your own dance school called, The Sarah Verity School of Dance. Your dance provision is obviously very important as its the only dance school in the area and teaches a range of dance styles to all ages, including adults. What do you hope to achieve with your dance school?
The positive effects of dancing whether it is as a hobby or as a career are significant and I have been fortunate enough to live in different places across the UK where dancing has always been an option. Therefore I wanted the people of West Wales who live in the more remote areas to have the same opportunities, without having to travel a great distance. I have been fortunate with my dance career and have seen the positive impact dancing has on children and adults. My aim is to continue to have a positive impact on people’s lives through dance.
You are collaborating with National Dance Company Wales to support a Day of Dance at Neuadd Dyfi,Aberdyfi on Saturday the 23rd November from 3-5pm. Do you think its important for organisations like NDCWales to work with community dance organisations such as your own?
I think it is amazing that we can offer the opportunity for people in this area to be able to work and be trained by National Dance Company Wales and have the experience of watching them perform, without having to travel to the city. I hope it will be a valuable experience for the National Dance Company Wales artists too, to work with dancers with mixed abilities and dance experience.
NDCWales then play at Neuadd Dyfi, Aberdyfi on Sunday the 24rd November as part of their autumn Roots tour. This is the first time the National Dance Company has performed at the venue, what piece of work are you most looking forward to seeing from the Roots programme and why?
I’m looking forward to seeing Why Are People Clapping!? by Ed Myhill as it has similarities with the musical ‘Stomp’ which I have been a fan of from seeing it at a young age. I love the simplicity of making a rhythm out of a simple sound and then gradually layering different sounds and movement onto the beat to produce an amazing result.
The venue has ‘West End’ standard facilities such as amazing lighting and sound equipment and sprung floor rehearsal space, which we are so fortunate to have in a small village in West Wales. We were able to rehearse and perform our dance school shows at the venue, which is so important for the pupils and their parents to have this opportunity as it is the largest venue in the area.
Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers to accessing high quality Dance provision?
deprived areas, it is difficult for parent/guardians to have extra income to
pay for their children’s dance tuition. Therefore cost of dance tuition is
reduced which means that the income is also reduced for the dance teacher. Even
reduced fees may still be a considerable expense for some of the parents paying
If you were
able to fund an area of the arts what would this be and why?
Enabling funding for underprivileged children to be able to partake in
you about the arts ?
In a world of ever changing political situations, climates and
technological advances, the arts still remain a form of liberation from the
pressures of modern society, yet it also has the opportunity to enable
expression around such issues and has the potential to influence the future.
What was the
last really great live performance you experienced that you would like to share
with our readers?
Despite living far from the city, we are very fortunate to have a local cinema that portrays the ‘live theatre screenings’. Therefore last year Matthew Bourne’ s adaptation of ‘Cinderella’ did a live performance from Sadler Wells that was screened to our local cinema in Tywyn. It was an hour to watch. We are lucky enough to have his latest version of ‘Swan Lake’ coming to our cinema as live screening at the end of November, which I am very much looking forward to.
Many thanks for your time
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.