Category Archives: Music

Orchestra Baobab and Buena Vista All Stars bring Afro-Cuban rhythms, jazz and soul to Llais 2026

 out of 5 stars (5 / 5)

Review by Tracey Robinson

The Donald Gordon Theatre at Wales Millennium Centre was alive with rhythm, dancing and sheer joy as Orchestra Baobab and Buena Vista All Stars took to the stage at Llais 2026. Bringing together the sounds of Senegal and Cuba, the two bands offered an evening that celebrated music’s ability to cross borders, connect cultures and bring people together.

Founded in Dakar in 1970 as the house band of the Baobab Club, Orchestra Baobab is one of the great names in African music. Its distinctive sound grew out of the Afro-Cuban influences that swept across West Africa, blending Senegalese traditions with Latin rhythms, jazz and blues.

You could feel the excitement as the eight-piece ensemble took to the stage. There was an immediate warmth in the room, and before long the audience was singing, clapping and dancing along.

The set bubbled with joy and a real love of performing. It was wonderful to see such a rich musical legacy brought to life with so much energy, with tradition and youthful spirit sitting effortlessly alongside one another. One of the loveliest moments came when the audience joined in to sing Happy Birthday to the saxophone player. It was a simple gesture, but one that captured the warmth and togetherness of the evening.

Orchestra Baobab’s playing was spellbinding. Interweaving guitars, soulful vocals and the seductive tones of the saxophone, the musicians created a sound that was both smooth and richly layered. Hypnotic Afro-Cuban grooves gave way to irresistible dance rhythms, then eased into slower, more atmospheric passages coloured by jazz and blues. The playing was beautifully in tune, with each musician adding something to the whole.

That was part of the band’s magic: the music could be sophisticated and soulful without ever losing its sense of fun. The energy never felt forced. It flowed naturally between the musicians and out into the audience, until the whole theatre seemed to be caught up in it.

It was a joy to witness a band with such an extraordinary history still sounding so alive. Their performance was a reminder that musical traditions aren’t simply preserved; they keep growing every time they’re played, shared and passed on.

Buena Vista All Stars: Havana comes to Cardiff

If Orchestra Baobab brought Senegalese soul and hypnotic grooves to the theatre, Buena Vista All Stars followed with a glorious helping of Cuban warmth, rhythm and colour.

Led by Buena Vista Social Club original members Barbarito Torres and Demetrio Muñiz, alongside an exceptional line-up of Cuban musicians, the ensemble brought together traditional rhythms and contemporary sounds in a powerful, immersive performance. They transported the audience straight to the heart of Havana.

Among the performers was Cuban trumpeter Manuel Machado, whose playing was a real highlight of the evening. His performance of Machado Blues was full of feeling, with a warm, soulful sound and a lovely blend of jazz and Cuban rhythms. It was a memorable performance that brought the music to life.

A standout moment for me was their Cuban-inspired take on Coldplay’s Clocks. Amanda Gaviria’s vocals and Luis Guerra’s piano playing brought a fresh, salsa-infused energy to the song, transforming a familiar melody into something wonderfully rhythmic and unexpected.

This was far more than a nostalgic trip down memory lane. The music felt fresh, spirited, and full of character. The pleasure the musicians took in playing together was clear in their smiles, exchanges, and easy rapport. Their musicianship was impressive but never showy; the emphasis was on the music and the enjoyment of sharing it. Rolling bass lines, sparkling strings, bright trumpet flourishes and rich vocals conjured the unmistakable sound of Cuban son.

There was a lovely generosity to the performance. These songs carry a remarkable history, yet they never felt stuck in the past. They came alive in the hands of the musicians on stage, their rhythms inviting movement and their melodies drawing the audience in. Sitting still was simply not an option.

Whooping, clapping, shouting, and dancing filled the theatre as the audience responded to the energy pouring from the stage. It was uplifting and gloriously joyful. Whatever our backgrounds or the languages we speak, the instinct to move to a great rhythm is something we can all share.

Two bands, one unforgettable evening

Bringing Orchestra Baobab and Buena Vista All Stars together on the same evening was a real treat. Although each band has its own distinctive sound, the connections between them ran deep. African musical traditions helped shape Cuban music, while Cuban rhythms later travelled back across the Atlantic, influencing musicians in Senegal and other parts of West Africa. Together, the bands created a wonderful musical conversation across continents and generations.

You could feel that connection throughout the evening. Orchestra Baobab drew us in with its smooth, soulful sounds and hypnotic grooves, while Buena Vista All Stars brought a glorious burst of Cuban rhythm, melody and celebration. Each had its own identity, but both shared that wonderful ability to get under your skin and make you feel part of something bigger.

By the end of the evening, the Donald Gordon Theatre had become a place of shared celebration. Both bands showed how music can carry its history while remaining vibrant, evolving, and full of life.

What a pleasure to be there. Llais 2026 gave us a night filled with jazz, blues, soul, rhythm, dancing, and genuine connection. Sometimes the best live music doesn’t need to be explained. You feel it in the room, see it in the faces around you, and find yourself swept along with everyone else. It’s a reminder of the extraordinary things that happen when music brings us together.

The WNO’s Bluebeard’s Castle & Oedipus Rex – a review by Eva Marloes

 out of 5 stars (4 / 5)

A strong double-bill of Bartók’s Bluebeard’s Castle and Stravinsky’s Oedipus Rex opens the new season of the Welsh National Orchestra. 

The WNO’s Bluebeard’s Castle is impeccable with excellent performances and a superb orchestra. Christina Rice stands out as Judith, Bluebeard’s new wife who asks incessantly to open every door, reveal all secrets, and bring light to the dark castle. Nathan Berg, as Bluebeard, counters Judith’s insistence with his dark tones. The orchestra, conducted by Lidiya Yankovskaya, is in perfect balance with the performances.

The production borrows from the ENO’s production of Bluebeard’s Castle with minimal staging. Mundane objects take on symbolic significance. Thus, the wine becomes blood, sparkling confetti shine like gold in the light. Nevertheless, the light design was disapointing as it did not convey the circular move from darkness to light and then again to darkness of the opera. The addition of music from Hildegard Von Bingen at the opening of the piece, whilst beautifully executed, stood in contrast with Bartók’s music.

Stravinsky’s piece, often and perhaps more appropriately performed as an oratorio, is not on a par with Bartók’s Bluebeard. The performances were strong. Tenor Peter Hoare is a fearful Oedipus who is overwhelmed by fate. The power of fate comes through in the powerful voice of Stephen Richardson as Messenger and Creon. Christine Rice is a self-assured Jocasta who realises that the oracle was right and she married her own son. Nathan Berg is the prophet Tiresias, at first mocked but later proven right. There is no escape from fate.

Stephen Richardson (Creon & Messenger) and Peter Hoare (Oedipus) in Oedipus Rex. Photograph: Dafydd Owen.

On a superficial level, both one-act operas share themes of male sexuality, death, and self-destruction. According to the director Joe Hills-Gibbins, ‘it’s a sort of psychosexual nightmare double bill.’ However, this seems to read Stravinsky’s Oedipus through Freud’s influence in late 20th century Western culture. The psychological interpretation provides a tenuous link between the two operas. 

Musically, Bartók’s Bluebeard’s Castle and Stravinsky’s Oedipus Rex are worlds apart. Bartók’s emotional charge and polytonal motifs build an internal world of trauma, which contrasts with Stravinsky’s neoclassicism and irony. The staging of Oedipus Rex departs from Stravinsky’s conception that saw it as detached and static. It stresses the caricatural nature of the characters of Oedipus, Jocasta, and Creon  by having them strut on the stage. It is less effective than Bluebeard, yet the WNO offers a good opening of the new slimmed down season.    

Review, Tasmin Sarkany: Now That’s What I Call Bach!, Edinburgh Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

What do you get when you combine classical music with comedy – Now That’s What I Call Bach! With Tasmin Sarkany. 

There’s first to say: you don’t need to know about Bach or really classical music to enjoy this routine. Sarkany presents us a narrative as Amelia Crotchet, a Bach enthusiast and also one in a deep love with her partner, Violin. Today is a very important concert and, if she can stop getting distracted, she will play for us. 

What is really lovely is this narrative – instead of presenting herself as a comedian, Sarkany has developed a well thought out plot with characters and storyline and therefore giving the ability to throw in different comedic scenarios throughout which all add to the trajectory of the story. In this short hour, we get to know Amelia, why this concert is so important, her love story with Violin and all about Bach. We feel we know this character well by the end and the concept works seamlessly. 

While occasionally slightly left field, the narrative has little plot points which seem random but fully add to the story. You may at first think: what does this have to do with this big concert but it’s all to do with getting to know her and allowing a space for her comedy. I’m not usually a fan of one-liner jokes or puns, I prefer something meatier but somehow Sarkany makes me change my mind on this, by combining both. The puns are genuinely humorous and tickle you, with the occasional slight “dad joke” groan but it all works together so well. She pokes fun at the arts or uses stereotypes of concerts or the Opera to add the essence of a concert; think throwing flowers on stage, asking an audience member to shout bravo and this contributes to the illusion of the narrative but gives the audience something to relate to. 

Sarkany’s musical ability is also fantastic. When there are moments of music, it is clearly from a very clever musician and adds these little highlights. But she also manages to create great comedy with sound – adding to the puns or reoccuring comedy references, sometimes there’s some notes played or with a clever musical technique and this is again, not only musically skilled but highly intelligent comedy. 

The only thing that brought the stars down for me is that Sarkany seemed very nervous. Of course, this is completely understandable and I can only apologise; Sarkany invited me and referenced me in the audience and I hope it wasn’t my attendance that gave her nerves! But the nervousness thread a little through the performance and I desperately wanted her to be confident in her ability and her show because it is smart, funny and engaging. 

Now That’s What I Call Bach! Is a funny take on the arts, music, with witty comedy, supported with a brilliant musical ability. I just wanted Sarkany to believe more in herself and her show and for this to take away the nerves that slightly impacted her performance.

Review, A Stan is Born – ENCORE, Alexis Sakellaris, Edinburgh Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

Stan to a millennial is likely to produce memories of Eminem and Dido in the noughties with their hummable, sad tune. The video is about an obsessive fan and where this obsession can lead to in the darkest of places.

Fast forward in time and the word Stan now means to be a fan of something, amongst the youth. Everyone has something, whether it’s a person, place, thing. And Alexis Sakellaris takes this concept and in turn provides a story of finding oneself and discovering ones sexuality in an unusual place. When Sakellaris moves from New York with their family to rural Germany, they find solace in divas and their music, and, in turn, this leads them to friendship and self discovery.

A Stan Is Born firstly takes its name from the film. This is where the comparison ends but the reference aims to draw in one of the many famous stars that they “stan” but also in a hint to the plot later – this is how Sakellaris discovers their voice (in more ways than one) and pushes their trajectory into the arts. With unique songs created and performed by Sakellaris, their story is told through a verbal narrative, original and satirical songs sung and played on the piano and a healthy dose of audience interaction. Sakellaris’s engagement is sincere and friendly, often moving them to being somewhat off-piste but with this, we are definitely getting something unique to other audiences.

The songs are fun and enjoyable but lacked a little variety. While all original and different in concept, there was not really one that I came away with as an ear worm and they slightly felt similar to one another. The blurb for this show notes as a “gay Bo Burnham” but I felt this was slightly misleading as a comparison – Burnham’s songs are all entirely different in delivery and have a often taboo sense to them; this wasn’t the intention with Sakellaris’s songs and it wouldn’t be fitting if it was. It feels as if it would be all too easy to compare this to Bo Burnham as a vague concept, like one women plays at Fringe are all compared to Fleabag.

Their story in itself is very endearing and Sakellaris does well to translate this to us in an honest and funny way, without detracting from the intention. We get an overview, with them swapping into multiple languages and characters, moving levels and letting down their actual hair to represent certain Divas, which all gives us enough to understand a life we very likely cannot relate to as it is so original. But there did feel a bit of nervousness about Sakellaris and this unfortunately slightly fed through their performance.

A Stan Is Born is a heartfelt, unique storytelling piece of theatre, with one of a kind music and a one of a kind tale. It just felt that Sakellaris needed a bit more confidence in this to deliver it.

Review, Tale of the Firebird – Concerto for Violin, Fire & Acrobatic Orchestra, Edinburgh Fringe, By Hannah Goslin

 out of 5 stars (4 / 5)

It’s nothing new to combine classical music with acrobatics. In recent years, the Southbank Centre have embarked on combined multi-disciplinary acts together, often with classical or orchestral music with another art form. The blend of these goes well together and very complimentary art forms.

But what if I told you that the acrobatic performers were also the musicians? I hope the news of this blows your mind as much as it blew mine to see. Tale of the Firebird takes on the fairy-tale story of the Phoenix, delivering this through music and physical theatre alone. The greatest achievement in this is the ability to play the instruments perfectly through mid-contortion or being propelled into the air. The music and performance already does well to bring the story to life, making it easy to follow and understand, even if you’re not aware of the tale.

The awe inspiring performance nicely builds throughout… we start with the performers playing music but soon, the odd trick in thrown in, separate to the instruments until they combine these, then fire, then even more intricate techniques. This gentle crescendo warms us up – they don’t try anything complicated or fancy with this but the simple build is enough to shock us and be open-mouthed at their incredible abilities.

While there is a protagonist and a villain who occupy the narrative, all the performers have their moment in the light and are all as clearly talented as one another. This isn’t just a commentary on their circus skills but the fact not a single note was out of place, while upside down, mid-air, whatever it may be, was just amazing to watch. What was even more incredible was a mini-harp – I never knew this existed! With plenty of children in the audience, the audible noises of excitement and awe was only vocalising what we were all thinking.

Tale of the Firebird is unlike anything I have seen before – the existence of performers with the ability to not only perform music but to also perform body-defying tricks at the same time is so unique and so impressive to see – it has to be seen to be believed.

Review, MAN!FEST: The Drag Boyband Musical, OnTheNose Productions, Edinburgh Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

If any of you were a teenage girl, you will have had a “boyband” moment – the moment where you were obsessed to some degree with their music, their looks and were convinced you were destined to marry one of them. For me, this was punk and emo bands but I definitely get the hype and we all know the “Take That” euphoria stereotype.

MAN!FEST: The Drag Boyband does exactly what their production company says on the tin: they provide a production that is very on the nose about boy bands. We meet the group, comprising of 4 very different characters, but ones we all recognise in a boy band: the quiet shy one, the athletic girl-mad one, the bad boy and the posh boy. Together, they provide unique songs, all perfectly catchy but, when you listen closely, the lyrics reveal something a little darker or highlighting male stereotypes. Think, a song about leaving you on read, or telling you everything you want to hear as a teenage girl about your attractiveness and worthiness. But between interpersonal relationships and the dodgy demands of their production company, the cracks start to form and chasm. And soon, this boyband aren’t the perfect men after all (not that they ever were).

The production is full of unique and one off songs. They are so quintessentially boyband-esque, with toe tapping beats and a catchy-ness you would find hard to forget. When you listen closer, the lyrics are something unsavoury, reminding me much of my adult years of listening to old songs and suddenly knowing what the lyrics now mean. Their ability to pull this off and put thought into it is commendable and the attention to detail is fantastic. This is accompanied by impeccable choreography that N Sync would be jealous of. The performers have a great ability to show the tension in the group while still being able to “perform” and we can then see the trajectory of this demise woven throughout.

While entirely enjoyable, there felt like there was something missing. It was easy enough to get involved and at no point did I feel boredom. I was invested. And I will always be impressed with anyone who can sing, dance, break dance and still sing without gasping for breath . But the story-line over all hit a flat note for me. I know it’s a slight cop-out to not give more reason but maybe, for me , it just missed the mark.

MAN!FEST: The Drag Boyband is an enjoyable production, harking to all our inner teenage girls and our unobtainable idolisations. But something was just missing to give it the wow factor.

Review by Tanica Psalmist – JAWDANCE, Poets in the City poets cohort; held at Komedia, Brighton on 18th June 2026

JAWDANCE hosted an exquisite evening of live performance poetry, featuring twelve emerging Spoken word artists who’ve worked collectively with ‘Poets in the city poets’ cohort to co-create an anthology showcasing their poetic vulnerabilities and authenticity. Each poem featured a Ghazal; exploring the following themes: Racism, Activism, Love, Transphobia, violence against women, friendships, misogyny, nature & creativity. 

This creatively insightful zine entitled ‘Beyond The Lines & Beyond The Margins’ encouraged voices of bravery, culture, integrity, transformation & concepts of healing. This zine was Published by Apples & Snakes, edited cover design is by poet ‘AFLO’, and collaboratively designed by Nurio Castro from ‘Writing our legacy’ & MNamug from ‘Aghh! Zine’. Better yet! All funds profited goes towards a local charity! which is a fantastic fusion intertwined.  An artist by the name of Curtis Tappenden drew all poets on stage live in action, which gave the night an additional special essence!

The 2026 Cohort performance poets were:  Alana-Eli, Bisly, Calliope, Em Williams, Gray Taylor, Hema, Jazz, Joe Jones, Kamakshi, Lucy, Sophoenixx Silk Fyah & AFLO. 

The evening started off with the incredible Kareem Parkins Brown, reading several punchy funny quotes from his poetry collection, “Oi not you lot” where we got mesmerised by his two readings ‘Son’ and ‘150 months’.

The next performer highlighted “If flowers can grow through concrete, then so can we” poet Calliope Mermuse took to the stage initially! Starting off with their two poems ‘A heartbreak poem about healing’ & ‘The ghost of your image is still here’… beautifully flowing into our ears “I am still a child (slightly unhealed) and when we play it’s revealed that this child survived to become a very silly mum!” Entitled ‘Mum Ghazal’ from Sophoenixx Silk Fyah.

Poet Hema shared her favourite personal childhood memories of her grandfather, starting off with “What love is” ending on “Always have more lemons than we need”. ‘Ready or Not Ghazal’ performed by Alana-Eli, explored depths of mentally preparing, showing up before stepping up for ourselves unapologetically. 

AFLO the poet lyrics, was poetically effective & dreamy, taking minds on a visually effective journey with her piece “A halo around her head” metaphorically hypnotising poetry creatively describing afro hair such as; “A bouquet in perfect bloom” to describe women of colour witnessing each others beauty “Memorised locs lock eyes”… “We do not know each other but we know each other in a multitude of ways..”, “Knowing that our hands have faced the same trials….touched by greedy hands who did not seek permission”. Tales both mixed and black girls with afro hair texture could warmly & deeply connect to.

The Second half of the performers were equally as richly potent with Gray Taylor’s piece ‘Monkey Ghazal’ & ‘Am I English?’.  Poet Em Williams, a sensory poet who equally took us through a reflective playful adventure of their wordplay. All performers featured one too many powerhouse poems & punch lines to name and describe. The night ended with the featured Spokenword artist Keith Jarrett, performing collaborative poems from his new book. Jawdance, Brighton was their first night to remember, with a zine that everyone couldn’t resist from buying. This zine certainly contains brilliance inciting reflections and giggles from both angles. There’s a space for all emotions and feelings to offer resonance, as well as solidarity through universal experiences and mental, spiritual journeying of all wonderful human beings exploring personal to universal afflictions, bliss and embrace.  

Review Come Together: The Lennon and McCartney Songbook, Theatr Clwyd by Donna Williams

Come Together is a wonderfully intimate celebration of the music and partnership of John Lennon and Paul McCartney. Rather than being a traditional tribute show, it captures the spirit of two friends making music together, giving audiences a glimpse into the songwriting magic that produced over 300 songs and changed popular music forever. From the moment the band takes to the stage, there is a genuine sense of affection for both the music and the story behind it.

Tom Connor and Mark Newnham, who also wrote and produced the piece, are superb as Paul and John. Their vocals are outstanding, their portrayals feel authentic without ever slipping into caricature, and the chemistry between them is what makes the evening so special. Backed by the excellent musicianship of Adam Keast, Mike Woodvine, Ben Gladwin and Greg Joy, the songs are performed with warmth, energy and genuine passion, reminding us just how extraordinary the Lennon-McCartney catalogue really is.

There are plenty of standout moments throughout the evening. A multilingual rendition of I Want to Hold Your Hand is both inventive and great fun, while Connor’s intimate piano performance of Yesterday is beautifully understated and vocally spot-on. The recreation of the famous rooftop concert atop Apple Corps headquarters is another real highlight. Having watched the recent Get Back documentary more times than I care to admit, it genuinely felt as though I was witnessing a live version of that iconic moment unfold before my eyes.

Under the direction of Bob Eaton, with musical direction by Howard Gray, the production wisely keeps the focus firmly on the music. There are no unnecessary pyrotechnics, flashy effects or overblown theatrics—just fantastic songs performed by talented musicians who clearly love the material. The result is a lively, engaging evening filled with nostalgia, humour and moments of genuine emotion. The double standing ovation towards the end of the show said it all.

Adding to the experience is a strong visual element, with multimedia projections combining retro graphics, song lyrics and photographs from the Beatles’ 1960s heyday. It’s a thoughtful touch that enhances the storytelling without ever distracting from the performances on stage.

Having worked in entertainment and on cruise ships, I’ve seen a plethora of Beatles productions and tributes, but this is the best I’ve seen by far! This journey through their story and songs felt like an intimate studio session and a live gig all in one. Newnham and Connor shine as the legendary songwriting duo with incredible vocals, uncanny mannerisms and effortless chemistry. We experience just the right amount of pathos and wit, and I left realising that this is probably the closest I’ll ever come to spending an evening with the real John and Paul.

If you’re a fan of The Beatles—or even if you only like them a little bit—you NEED to see this show!

Review Sapphic Soirée, Del Fflur Productions, CABARET, Wales Millennium Centre by Megan Pritchard

Sapphic Soirée artwork with photo of Lili Del Fflur by Tallulah Tog

There aren’t many shows where you smile all the way through, but that’s often the effect a Cabaret show has on me, so I was del-ighed to see Del Fflur Productions Sapphic Soirée. A sexy, silly and serious programme that had the audience whooping from the get go and on their feet dancing at the end.

The Sapphic Soirée was Del Fflur productions first time presenting as a solo venture on the CABARET stage at the Wales Millennium Centre, though burlesque fans in South Wales will know the name Lili Del Fflur well – as she’s been on the scene performing for a decade, and has been producing shows since 2023.

This show featured performers from across the Sapphic community in South Wales (women and non-binary folk who are attracted to women) and the cast’s talents were beautifully diverse featuring burlesque, song, live music and poetry.

If you’ve not been to a Cabaret show at the Wales Millennium Centre before, they are good fun – the venue is laid back, accessible and the seats are comfortable. You can drink and snack throughout and there’s something different a few times a week. Typically for Burlesque shows like this one, each act is broken up by some chat and comedy from a host. I often describe it as ‘tiktok’ for live audiences – if you don’t vibe with one act, there’s another one a few minutes later to wow you in a different way. It’s a great place to leave your worries at the door and have a good positive yell and cheer.

The cast of Sapphic Soirée, photo by audience member

For this event the host was Lili Del Fflur herself, who introduced each act with warmth and pride – this local grass-roots cast was hand-curated by Lili and it was clear she was proud to platform each one. That sense of warmth was immediately shared by the audience as Lili opened by ensuring everyone felt welcomed – noting with a winning smile that we would share in ‘Community, Creativity and the joy of seeing ourselves reflected on stage’.

Between the acts Lili would come back onto stage to introduce the next one, telling us about each performer and interacting with the crowd. At one point she hosted a glove-peel competition for two audience members who, though strangers, made friends immediately. That camaraderie was felt across the room throughout the night. Later Del Fflur briefly teared up as she implored the enthusiastic audience to use their votes wisely for our loved ones at the Senydd election next week – a sentiment met with cheers and applause – this was an audience that reflected the community they were a part of. 

The acts were well curated, balancing artforms and platforming new performers alongside professionals – both showcasing and growing the Cabaret scene.

The show opened with the non-binary finery Lana Del Red, known in Cardiff for their sexy routines and incredibly high heels – Lana didn’t disappoint with a red and pink themed number full of intense eye-contact, snake-like undulations and tiny undergarments. This routine cast a spell on the audience and was a great opener. For the rest of the night Lana also acted as stage manager for the show, setting up props and cleaning the stage after acts and keeping an eye on the performers needs – a hard worker indeed.

Next up was singer Little Lau who quickly had the audience singing along to some songs by WLW icons. Lau is a wonderful performer who accompanies herself on guitar. In the second half Laur returned to perform a passionate and personal poem about growing up as a Lesbian in the 90’s and the strength she found from her trans sisters – who we need to support now more than ever. This is a moment that the audience won’t forget and was met with a standing ovation.

Little Lau photo by Evita Pics

Across the evening we were treated to two performances by proudly plus sized performer The Dumb Belle who ‘never knowingly takes herself seriously’. Her ‘Heated Rivalry’ inspired hockey act was wacky and creative – ending with impressive rainbow hockey pads which I wanted to take home. In the second half she proved that any body can be a beach body with a fun summery routine complete with giant inflatable beach ball and audience participation. The Dumb Belle is a fun, flexible and expressive performer with a confidence and stage presence that easily guides story.

It’s hard to believe that singer Rosy Derrière made her stage debut last night – treating us to retro rockabilly versions of modern songs which were charming and fun. Dressed in impeccable pin-up attire, Rosy was accompanied by four adorable backing dancers (‘the Dels’ – a local troupe of dancers taught by Lili Del Fflur) as she crooned though ‘I Kissed A Girl’ as the audience bopped along. Only after she exited the stage did Lili tell us that it was Rosy’s first time singing on stage – a testament to the grass-roots platforming of new performers, and tutoring by Del Fflur.

Rosy returned later, joined by Lili herself dancing in a cheeky backless skirt as Derrière sang ‘All About That Bass’  – a glamorous and slick feeling act where the two worked beautifully together. A brilliant first outing for Rosy Derrière who I’m sure we’ll see more of soon.

Goldie Luxe photo by Evita Pics

Next, blonde bombshell Goldie Luxe treated us to a sexy and classical feeling red showgirl version of ‘I wanna make love to you’ in which she dances, strips and plays live saxophone. Not one to rest on a single talent, Goldie’s second act of the night was a stunningly expensive looking Cinderella act which includes live song, acting and real whip cracking. Goldie’s acts are always impeccably choreographed, smooth and tongue-in-cheek – encompassing the multi-talented glamour and ‘gimmick’ that makes burlesque so special.

Lili Del Fflur herself performed twice throughout the show – once with singer Ruby Derrière as mentioned above, radiant in purple and once with a high-energy driving and dynamic number to ‘What’s Wrong With  Being Confident?’ dressed in black and white striped prisoner costume. Lili’s professionalism and dance skills shine throughout – always alluring, expressive and light on her feet, you can tell Lili loves performing and it’s a joy to watch.

Lili Del Fflur hosting photo by Evita Pics

The show finished with Lili’s troupe ‘The Del’s’ who she trains in the South Wales Valleys. In ethereal white costumes and waving silk fans the Dels dance triumphantly to the song ‘Freedom’ – bringing the night to a close on a positive and uplifting note that was echoed by the warmth of the audience.
This was the sort of event where the performers and those watching them have a genuine exchange of energy that carries out into the night.

Whilst I often visit CABARET (WMC) to experience high-end performers from outside Cardiff alongside Welsh acts, it was nice to see an evening of local talent supported by professional sound and lighting so rarely available in other spaces across the city.

Cabaret and Burlesque is a growing genre in South Wales, and I highly recommend anyone try it – there are a handful of grassroots shows and professional companies in Cardiff and South Wales.

To see more of Del Fflur Productions visit here

Or to see other Cabaret shows by other producers at the Wales Millennium Centre visit here

Or to see all Cabaret and Burlesque shows are in the area visit here

Review Bastards Assignments, PIGSPIGSPIGS, Wigmore Hall by James Ellis

 out of 5 stars (3 / 5)

In what is the strangest thing I’ve see at Wigmore Hall came a delight and a disappointment. Bastard Assignments have been commissioned by Wigmore, Borealis – a festival for experimental music and Spor Festival also.

PIGSPIGSPIGS tells of the plight of a family of farmers, in a story not dissimilar to The League of Gentlemen, Roald Dahl and Monty Python. The father transforms into a pig, the build up to this is the all too familar plight of the farmers losing it all.

The company is made up of Edward Henderson, Caitlin Rowley, Josh Spear and Timothy Cape. Whilst there is good chemistry between them, they were in great need of mics, the long Wigmore setting may not have fared well for the extensive spoken passages. Yet, when they got weird it then became wonderful. Glass bottles, hoses, piping and a set of gardening sheers pressed upon piano keys (which is also a be all for the pig in question) are utilised to good effect. More of this! More ambient noise during the spoken bits as well. Their singing is also fair, the marketing would do well to expand on the folk horror of the whole thing.

I think the script might need some tweaking as well. Musicians don’t always make the best actors, but some of the one liners and physical moments the audience and I enjoyed. I think with much tighter direction and a much smaller venue this could be improved ten fold. Naturally, it would fare well at Edinburgh  Fringe. The realisation of a pregnancy lead to an elgonated experimental phase which worked well, just a touch of a lighting change here would have beenp erfect. Said baby becomes the shock of the night, winks to the devastating end of Threads and Rosemary’s Baby. I can still hear that minature toy pig even now…..