I am walking up the High Street in St Asaph on an unseasonably warm January evening. The final remnants of Christmas hang in shop windows. The town’s tree is already stripped bare. It stands awkwardly on the side of the street. Meanwhile, opposite, a yellow glow emanates from the inside of the Cathedral. It stands, as always, resplendent at the top of the hill. As I reach the door, I can hear Robert Guy, Artistic Director of the NEW Sinfonia Orchestra, introducing the opening piece. I pull out my phone to show my ticket and notice that I am three minutes late. As a result, I decline the kind steward’s invitation of a seat at the front, and wander to a row of seats at the back. It helps that I know the place, for it allows me to settle immediately and enjoy the final section of Tchaikovsky’s Sleeping Beauty Waltz. It receives the first of many rapturous applauses on the night, and deservedly so. Made up of professional musicians from across North Wales and beyond, Robert and his brother, Jonathan, have assembled a talented cast whose collective sound brings the bricks of this ancient venue to life. It is no wonder that the well-dressed crowd in front of me look relaxed and fully engaged in every bit of what follows on this mild eve.
There is a rousing rendition of Strauss’ Thunder and Lightning Polka, a sprightly performance of Chit-Chat Polka, and a fascinating piece by Vittorio Monti called Czardas. However, it is a special guest appearance by Erin Rossington that particularly grabs my attention. Winner of the ‘International Voice of the Future’ at the Llangollen International Eisteddfod in 2019, the Guildhall School of Music student both looks and sounds like a future star. Dressed resplendently in a silk dress, she delivers a note-perfect performance of Porgi Amor from the Marriage of Figaro. Following that up with Waltz of My Heart, I am struck by the gentle power of her vocals. Hers is a voice that never overwhelms. Instead, it reaches out and softly touches the wooden beams that adorn the roof of the Cathedral. It is strong, but not overbearing; confident without being arrogant. It sits beautifully alongside the orchestral score.
Rossington is indeed a rising talent, as is Jonathan Guy,
who showcases his aptitude for composition with a new piece called Fire Dance. Coming at the start of the
second half, it is an intriguing bit of music that reflects the tempestuous
element of the title. The low tones of the introduction speak of danger, before
a more uplifting section produces something of a magical effect that, in the
final part, produces a majestic sound that captures the awful beauty to be found
in flickering flames. It is a far cry from those fireside images of Christmas
which are now fast being extinguished from the memory for another year. In their
place, thoughts turn to those caught up in the Australian bushfires. It is
fitting that an encore of Auld Lang Syne is
touched with poignancy. The string section is solemn, and the audience, in
unison, lend a certain pathos to the closing moments of this excellent concert.
Thunderous clapping gives way to a politely crowded exit. And as I walk out
into the pleasant calmness of the weather, I wonder if there could have been
any better way to start the New Year? The answer, I conclude, is no.
3) https://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.
Walking into Fresh at the Wales Millennium Centre, I had no idea what to expect from the show titled Lovecraft. Strangely the thing that sprung to mind was that it is a sex shop (I have heard!) located in Cardiff which was a joke repeated many times throughout this show. However, this isn’t just crude and hilarious show but also carries a very important message about combatting loneliness which is an issue that affects many, many people even today.
This show was co-produced by Carys Eleri alongside Wales Millennium Centre themselves. Lovecraft (Not the sex shop in Cardiff) is a one women show that was ‘hosted’ as such by Carys herself. She was an incredibly awesome host as she possesses a very loveable and friendly personality which the audience instantly warm to. The material within the show was relatable to all ages (above about 16) as she discusses issues such as relationships, alcohol and social media which made every single member of the audience, despite their age, feel as if Carys was talking directly to them and talking about issues they may have ever experienced. This was very clever and helped to make the comical aspects of the show even more hilarious as it was all based on real-life experiences. She delivered these touches of humour moments excellently but also managed to carefully manipulate the mood the incorporate the more serious and important messages of the show such as relationships going wrong and loneliness etc.
This show does contain very strong language, mature themes and sexual references which means it is not appropriate for children and also young audience members may not relate to the messages of the show as much as more mature members of the audience would. Some of these ideas were portrayed through song which is, in my opinion, very unusual but in this case, it worked excellently. Obviously many of these songs were comical but Carys has an incredible voice and so it was actually marvellous to listen to the singing itself instead of just the lyrics. Carys is clearly a very talented performer and she managed to develop a way to showcase her skills excellently in this show without it seeming like she is showing off which was great. In fact, the album of the songs is available across all music streaming platforms so if you want to have a listen just search for Lovecraft and have a listen.
The combination of hilarity and musicality of this show makes it an excellent choice if you are looking for someone to watch of your next girls night as it would be a fantastic thing to watch with a group of friendship and you can even grab a bottle of wine in the bar to complete the evening.
What was also unique about this show was that towards the beginning the audience were encouraged to turn to the person next to them and give them a hug as a way to test the chemical reactions in the brain and also towards the middle of the show the audience were each given a piece of lint chocolate. Both of these things are things I have never experienced before and helped add to the uniqueness of this show.
All that I knew about this show is that it had been performed at the Adelaide fringe festival and it is clear this show has been designed accordingly. The ‘set’ is simply two screens and a microphone but Carys has a huge sense of stage presence which means that anything else would be a distraction. This makes the show very easy to transport and your around and one day I hope to see a huge nationwide tour of this production as it is a unique show that everyone (age-appropriate) needs to see. As well as being hilarious and musical it is also somewhat educational. It was billed as the ‘science musical about love’ like it at certain points teaches the audience about the chemicals involved in love and how they are caused etc. This was something I did not know before walking into this show as so it was an educational experience for me personally.
Overall this is an incredibly uniquely hilarious musical that is unlike anything I have ever seen before with a fantastically talented host and moments of education. If you are interested in a comedy musical journey through love then this is the show for you. I would rate this as 4 and a half stars out of 5 and would recommend it as your next girls night out show. This show will be in the Millennium on the 29th and there will be a special welsh version of the show on the 30th so I would encourage you to catch it if you can!
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.
Written and performed by Carys Eleri (‘Love Goddess’ in English) this one-woman show is like a cross between Fleabag, Eminem and Bonnie Tyler, exploring the science of love in a way that is earthy, informative and Welsh. It’s also very, very funny.
At heart it’s a monologue about the dangers of loneliness, which now has its own page on the NHS website, asking questions like do we have to have lovers we don’t love to fill that void or can friends suffice? Carys takes us through both the science behind why and how we fall in love, and also her own love life, revealing that our brain chemistry has a lot to answer for.
She intersperses the dialogue with unforgettable songs and a pretty good voice, ranging from rap to disco to heavy metal, and it’ll be a long time before I forget ‘Magic Taxi’ or ‘Tit Montage’, her ballad on a drunken lesbian threesome that probably didn’t actually happen.
There is also some audience participation about Tinder, and where we are all offered cocaine, only to discover that for logistical reasons it’s been replaced with chocolate instead. (Although it was very nice chocolate).
Lovecraft is a delightfully bawdy, funny and enlightening show that keeps you laughing throughout. The only thing I could find fault with is that the narrative is a bit all over the place at times, but that’s a minor detail.
Cerys hugged every member of the audience before the show started, and it was so much fun that after it ended, I really wanted to hug her back in gratitude!
I usually like my comedy in darker shades, but if you’re looking for an irreverent comedy that’s packed with positivity and threaded with catchy musical numbers, Lovecraft (not the sex shop in Cardiff) is the perfect night out.
It all hinges on the winning charisma of Carys Eleri – a woman who wins over the audience even before the first word of her show. Introducing everyone with a genuinely warm hug, not even a cynic could be against this show as they wait for it to start. Her spoken comedy is brassy and fizzy. While there are only a few standout jokes once you leave the theatre – never to look at A&E Glangwilly the same again – her general aura of energy and enthusiasm sticks with you.
It truly is ‘something for everyone’ comedy. Using hugs and chocolate, plus general affability, Carys had the audience in the palm of her hand the whole way through. Even better, her broad range of jokes from shitty exes to loneliness and online dating meant everyone could relate to something. My personal favorite came when she described her alternative and decent ex. How he stood out in Camarthen, which ‘breeds rugby players like rabbits.’ He was:
‘‘absolutely not a rugby player. He wore eyeliner!’‘
I’ll always relate to that one!
Her musical numbers show a panache for parody and wordplay. While a few in the first act seemed a bit repetitive, they find their feet as more genre variation comes in. Carys luckily also gets the chance to show off her genuinely fantastic voice as the numbers progress. ‘I Brain you,’ ‘Magic Taxi’ and ‘Rat Park’ get points for the perfect balance of witty and catchy. The animation that accompanied them was basic but effective and had a few moments of great visual humour – like the unicorn’s cigarette horn.
If you’re missing Crazy Ex-Girlfriend and wish that
Rachel Bloom would have swapped some Hollywood malarkey for Valleys realism,
this show is for you. There are a few humourless gripes to be had – the basic
science, the repetition of some musical numbers – but Carys Eleri pulls off her
one woman show with charisma and bellyaching comedy.
My one big gripe was with the central conceit. This was that the neuroscience of love can be replicated with friendship and community.
While it is in itself a positive message, and it’s humbling to know such an extroverted figure as Carys experienced loneliness, it is somewhat accidentally incomplete. In the valleys or anywhere poor and hard to get to, social isolation has been the catalyst for many a horrible relationship. While her takeaway is a great message for people with good friends to stop worrying about romance, many people only do because those friends can be so hard to find.
Still, even when your physical community is desolate or disappointing, millions find community through art. And a happy, slightly tipsy, and adoring community watched Lovecraft (not the sex shop in Cardiff) that night.
Out Of The System :‘MIXED BILL’ curated by Dance Umbrella, featured guest programme ‘Freddie Opoku; in partnership with Bernie Grant Art Centre & Systems LAB. Out from this showcase stemmed acts who brought more than just multi-disciplined, deeply conscious and lucrative art.
All pieces structurally provided visual content that were richly infused with innovation & culture. This was exceptionally recognised during the first act of the evening, ‘Fragility in Man’ by dancer Theo Inart. His unique segment poured vulnerability on stage. A one man show featuring live looping, un-dressing, mental channelling & emotional battling through movement & sound-making. Each movement foretold his insanity as a man looking sane, meanwhile each sound enchanted torment from the infliction of oppression within society as a man.
Next on ‘Exhibit F’ by Becky Namgaud. Her piece was the most abstract out of the other pieces showcased, to the point you would’ve needed to pick her brain to find meaning within the intensity of her choreography & low lit to dark mood lighting choice. Becky’s performance grasped attention being the only act who was nude, top half of her body. Becky incorporated sounds of running water & stayed levelled on the ground in her piece infusing ambience sounds which I struggled to find the correlation with to match her theme. However, in spite of this I’d describe this piece as deeply metaphorical, original & innovative with complex moves combined with contemporary & Capoeira style of dance. I perceived this piece may have been more personal, explaining why it wasn’t self-explanatory to members of the audience. This gave Becky’s presence power & bravery, as she interestingly also had a lot of repetition throughout.
Followed on from Becky’s piece was a duet act, ‘Beyond Words’ performed by FFion Camberwell Davis & Tyrone Issac Stewart. Ffion first appeared on stage wearing lingerie, whilst Tyrone appeared in boxers; circulating a lot of their movement at the beginning on balance by firmly climbing, gripping & stepping on to one another weary of their surroundings. As their piece built more momentum both acts started exploiting various episodes of their unique individuality through phases of facing judgment, living in a world where your made to feel uncomfortable when in reality feeling comfortable with yourself. To portray their multifaceted mindsets they’d transitioned to a volume of costume changes on set, emphasising through spoken-word that external factors don’t define them but helps in finding their purpose to re-connect deeply to their roots. The incorporation of spoken word for me was distinctive, as it helped exclaim the powerful discovery of two individuals dressing down to reflect the value found in being at one as a collective amongst people with different tribal history.
Lastly, Jonzi D presented his piece ‘Aeroplane Man’, which personally blew me away! His piece was a perfect way to end the showcase as he took the audience on a never-ending, mental plane journey bringing nothing but himself. Energetically jogging on one spot as he physically, mentally, emotionally & spiritually ran his way to regions where respect & acceptance from his ethnic heritage, indigenous people were expected. However, ironically we’d witnessed his robust character repeatedly facing rejection and humiliation instead. Confused, saddened but determined not to give up, he remained hopeful of finding unity, validation, identity & belonging in countries where his people had his interest at heart & wouldn’t see him as a fabricated, disillusioned wannabe, despite being unable to speak his mothers tongue or know & understand his African tribe fully. ‘Aeroplane Man’ is a story told through the lens of relatable periods in life, experienced when being of African descent, raised within another culture who have difficulty accepting you due to your race. A man birthed from West Indian parents who came to England during the Windsrush, migrated & have no recollection of home other than their current place of residence. Themes in this piece were propaganda, racism, belonging & adaptation.
All artists focused on abstract ways of grouping their political, emotional views on factors that surround society. All pieces embodied rich characterisation and were well thought through in terms of their mis-en-scene choices. The following artists FFion Camberwell Davis, Tyrone Issac Stewart, Becky – Namgauds, Miguel-Altunaga & Florian- Peus demonstrated effective, triumphed work they should each be proud of.
Reminiscence is a tricky thing. It can border
on the nostalgic if you’re not careful.
factory workers faced a lot of tough times and made a lot of tough decisions.
But they laughed a lot too. They made life long friends. They forced some
change. They probably sang a fair bit along the way as well.
like a sing song, I’m very fond of a musical and I like a good story. I like
characters I recognise and a history I know just enough about to give that
Clearly, I am not alone. A whole audience agrees with me for sure. What a glorious romp! Parama 2 gives us an all singing, all dancing romp of a performance with every body on that stage playing to her natural strengths effortlessly and with joy.
witty pithy solos and duets with heart, a heart ripping trio trips us towards
the end of an excellent saga.
love it. I am watching everyone around me, sitting around candle lit, cloth
covered club tables laughing, listening and sad for times past and people too.
Touched by the factory workers, wondering how much has really changed and what
this future holds. No woman is an island.
am sitting with Olwen’s daughter, ‘that’s my mum, the one in the silly skirt’
and when she sings her ballad, we are both a little moved, a little teary.
It would be impossible to single any one actor
out for particular accolade – each song matched their style, each scene matched
their character, each laugh and each sigh was earned.
join this troupe, this band of friends, at their reunion and prepare to tap
your toes and reminisce and glimpse behind the aprons of our past.
Hi Sam great to meet you, can you give our readers some background information on yourself please?
I am a 15-year-old who is very interested in the technical side of theatre. I do a lot in the hall which is closest to me which is Neuadd Dyfi in Aberdyfi . I help out with all types of events that happen in the hall from small touring shows, dance and talent shows to our local pantomime.
So what got you interested in the arts?
It all started when I moved down here at the age of 7, my mum became involved with Aberdyfi Players the 1st year we moved down here.
I was pretty much dragged along to watch the performance of their yearly pantomime. From the moment I walked into the hall I wanted to know how to work the lighting. Most children at that age wouldn’t have continued to think about it but after talking to mum she introduced me to Des George who runs the hall and he fuelled my interest even more. I didn’t join Aberdyfi Players straight away but it wasn’t long as I was inching to get involved with the tech side with Des’s knowledge, help and experience it has got me to where I am today.
Congratulations on your nomination for Young Person of the Year in the National Rural Touring Awards 2019.The awards recognise the valuable work of productions, venues, promoters, schemes, and staff in the rural touring sector. What is your role at Neuadd Dyfi?
Good question, I don’t feel I really have one specific role at the Neuadd, I try my best to help with as many things as I can. Obviously my main interest is lighting and sound which I help all the touring companies or events which come into the hall with.
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 productions for audiences at Neuadd Dyfi?
I would have to say it would be the size of our auditorium, we have had half of the hall levelled out, but we would like it to all be retractable seating. If we did have retractable seating installed it would open up so many more opportunities.
If you were able to fund an area of the arts what would this be and why?
I have to say it is difficult to choose one area to fund, it would have to be backstage in general. From props to tech
What excites you about the arts ?
The fact that everyone comes together to form one big team and works together to create one big show. Everyone has their own part from technical to costume to performing.
What was the last really great live performance you experienced that you would like to share with our readers?
It would have to be ‘I Ain’t Afraid of No Ghost’ by Little Earthquake. By far one of the most mind twisting shows I have ever watched, if you get the chance ( no pun intended) to go and watch it please do. The meaning behind it is amazing but that’s all I can say about it.