Rarely have I been in a situation when a review is hard to write because it is such perfection.
I very much booked this on a whim; I saw plenty talking about this, from fringe contemporaries to general public and as a cabaret, burlesque obsessive and millenial who grew up with and watches Shrek on repeat for comfort, I also couldn’t resist.
Most burlesque shows run for a couple of hours, with interval and presenters. But at Fringe, this isn’t an option and actually, the consistant pace the show is forced into just helps with keeping the laughter coming. Not that there is a problem with that in the first place.
As the name suggests, this burlesque show is a satirical take, with drag, burlesque, rude jokes and phenominal singing of Shrek, condensed to one hour with highlight triggers. From pop culture references or if you have just seen Shrek an ungodly amount of time, you’re already speaking the words along with the audio; the surprises and their take on them are all the more funny with extensive knowledge and they have chosen something so brilliant to be creative and get the audience going.
Transitions are smooth and we are thrown in from the start. Innuendo is writhe and the little details to create jokes are well planned and thought out. And the actual skill of the performers is a gold star – they are professional, having fun and extremley talented. I have probably never been to a show when, the next act comes on and i’m laughing at the sheer impressiveness of their choice and conduct or saying “No F***ing way!”. I was entirely engaged and so was every audience member, by the sounds of the cheers, the singing along, the laughter and clapping. It’s a wonder the Assembly Main Hall is still in tact.
Swamplesque is everything I wanted it to be and more. Not a foot wrong, so extremely clever in execution, creation and thought, they were meticulous in their choices and artistic direction and I had THE BEST time. Now to go away and question all my thoughts and feelings…
If you grew up studying drama in the UK, you will well know Metamorphosis. A surreal tale, it was always a good catalyst for teenage kids to develop their drama devising talents. And we have all heard of Kafka; but here is the crux, I knew little else of him apart from his name and writing of this story.
A juxtaposition of Kafka’s life versus his story, we dip in and out of the two, seeing similarities and just how much he threw himself into his writing. What could be a deep and troubling tale, is somehow lightened and emotive in the way musicals are by turning it into one. There are times of deep ballads and almost standing ovation worthy crescendos, but then there is also a song noting “F*** my life”. There is the perfect balance of comedy and deep feelings.
Throw in some puppetry and we see a popular trend of musicals meeting puppetry since Avenue Q. This isn’t the old children’s puppetry show and something about that innocence when the puppet is shouting obscenities is silly but also well done.
The singing is brilliant. Un-faltered and reverberating in this enclosed space, it hits deep and almost is too much for such a small room (in a good way). The performers are every ounce professional, making eye contact, engaging with us either indirectly or directly and fantastic at picking up on unplanned engagement. They bounce off one another without a foot wrong and it is not only entertaining but fun.
Kafka’s Metamorphosis: The Musical! With Puppets! is yet another new way to take on the well know story, bringing humour and elements of heartbreak while easily jumping and perfecting different unlikely theatrical elements. And for those like me who knew little of Kafka, it is entirely a learning experience of his life.
Heathers certainly has a cult following if the red, green, yellow and blue costumes in the audience are anything to go by and judging by the overwhelming response to every single musical number in the show!
Based on the film of the same name released in 1989, Heathers has had a successful run of productions both on Broadway and in the West End. In fact, the most recent tour was 2023, so the show’s popularity is obvious. It has gone through various iterations and versions, with the most recent featuring new songs and replacements for others. ‘Blue’ is replaced with ‘You’re Welcome;’ Heather Duke gets a song in ‘Never Shut Up Again’ and we get the big, belt number, ‘I Say No’ for Veronica, originally created for Carrie Hope Fletcher when she played the role in the West End.
The story is a dark comedy, with particularly intense and difficult themes. Nothing is shied away from; we see bullying, teen suicide, sexual assault and school violence. Veronica longs to simply survive High School without being bullied and picked on every single day. She manages to convince the Heathers, a group of ultra popular, ‘teflon’ girls to accept her as one of their own, and chaos ensues. She meets the enigmatic and damaged new student JD, and inadvertently gets caught up in his desires to rid the world and their high school of anyone he deems unacceptable to the better society he envisions. The show embraces these tough subjects and never holds back. It grabs you by your coloured school blazer and refuses to let go until the very end.
The action bursts onto the stage with ‘Beautiful,’ introducing us to Veronica and Westerburg High in 1989. Jenna Innes returns to the role after the tour in 2023; she is a fantastic Veronica, the loveable nerd who just wishes High School could be different, that everyone could get along just like they did in Kindergarten. The song is a fantastic opener, introducing all the characters and setting the tone for the darkly comic nature of the show.
Jenna Innes is entirely believable as Veronica, with a powerful voice and exceptional delivery of both dramatic and comic lines. She is quickly corrupted by her involvement with the Heathers and the damaged JD. This is not an easy sing, (and she barely leaves the stage!), but she delivers the big numbers with absolute ease, and I particularly love her facial expressions and reactions to everything going on around her. My favourite number is ‘I Say No,’ but every song is delivered with poise and a belt to die for. Her character arc is expertly delivered, and this is clearly a role that Jenna adores and was born to play.
‘Beautiful’ also introduces us to the Heathers themselves, Heather McNamara, ‘the head cheerleader,’ Heather Duke, ‘no discernible personality but her mom paid for implants’ and of course, Heather Chandler who is a ‘mythic bitch.’ They work so well together as a group; ‘Candy Store’ is exceptional; harmonies and dancing are on point and the lyrics are entirely inappropriate and therefore, completely hilarious. Each Heather gives a great performance, each clearly have fantastic vocal chops and can dance to match. Esme Bowdler particularly comes into her own after her untimely demise, with her haunting of Veronica in turns hilarious and menacing. Sedona Sky as Heather Duke delivers one hell of a number in ‘I Will Never Shut Up Again’ and Daisy Twells as Heather McNamara is the loveable ‘dumb blonde’ until her rendition of ‘Lifeboat’ which paints her as much more than we first perceived and is a powerhouse vocal performance.
Other special mention to Amy Miles who makes her professional debut as Martha Dunnstock and who leaves the audience breathless with her performance of ‘Kindergarten Boyfriend;’ you could hear a pin drop in the silences of the song and Amy owns her second.
The ‘villain’ of the piece, JD fights his way into our hearts with a highly comedic ‘kicking of asses’ in ‘Fight for Me’ where he very slowly knocks out Kurt and Ram (very ably played by Iván Fernández González and Jason Battersby respectively, both exceptionally funny and fantastic movers!). JD is portrayed by Keelan McAuley, and I was in awe of his vocals, the way he can sustain that gruff belt over a considerable tour is impressive. Nothing is held back, especially in ‘Meant to Be Yours’ and ‘Freeze Your Brain.’ His character arc in the show is amazing; he goes from damaged teenager to all out murderer of his fellow students in his quest to make a ‘decent world for decent people.’ He makes this very believable, and his study of the character has clearly paid off.
There are so many moments of incredible singing and hilarious delivery of lines; Lucy Sinclair shines as Ms. Fleming and Veronica’s Mom, especially in Fleming’s ill judged TV campaign against teen suicide in ‘Shine a Light.’ Conor McFarlane (Ram’s Dad/Big Bud Dean/Coach Ripper) and Alexander Service (Kurt’s Dad/Veronica’s Dad/Principal Gowan) absolutely steal the show in ‘My Dead Gay Son’ with dancing and rainbows aplenty. The whole ensemble dance and sing their absolute socks off in every scene and the show is punchily delivered in every musical number.
All in all, I’ve seen this show once before, but this iteration was honestly well worth the standing ovation that the whole theatre delivered as soon as the cast came on for their bows. The show is full of difficult topics which still resonate today, 35 years after the show is set. To see so many young people in the audience, clearly loving every second and able to identify with some of the experiences on stage means that musical theatre will continue to thrive long into the future. To that end, Heathers deserves a place up there with some of the classics for, after all, ensuring that audiences continue to fill those theatre seats is ultimately the goal of all musicals and one that Heathers clearly does with ease.
If you’re not aware of BOM. It’s a musical comedy with music, lyrics, and book by Trey Parker, Robert Lopez, and Matt Stone (South Park & Frozen). It follows two Latter-day Saints missionaries as they attempt to preach the faith of the Church to the inhabitants of a remote Ugandan village.
Simple premise for a musical, I guess. The best way to describe it, is someone took a book of Musicals For Dummies, copied different musical ideas, used the comical genius behind South Park (not forgetting Robert Lopez who’s part of the team that have brought us Frozen & Coco), and you have one of the funny & cleverest musicals of the last decade.
In saying that, this isn’t for everyone. The subject matter itself could be controversial, but I’ve another perspective. It’s not about one religion, it might be named after one, but the tone and material itself is about all religion, and the basis of it – a belief. It doesn’t say one religion is bad, and one is good, it just says your beliefs are yours – there are no wrong or right answers.
Having seen the tour which came to Cardiff in 2021, and in London in 2017, the current cast of the Summer of 2023 are quite possibly my favourite by a long way.
Steven Webb shines as Elder Mckinley – which isn’t a major part but steals the show with his asides and quirks that he’s brought to the role. Ben Tyler and Connor Pierson, Elder Price and Elder Cunningham also remain a huge highlight, and the ensemble were also on point.
Overall – I believe, Book of Mormon, is much better than any golden plates!
Hairspray at the Wales Millennium Centre in Cardiff was an absolute whirlwind of fun, energy, and infectious joy. This production captured the essence of the 60s with a vibrant, colourful, and over-the-top spectacle that left the audience cheering and dancing in their seats.
From the moment the curtain rises, you’re transported to Baltimore, where the rhythm of the music and the infectious enthusiasm of the cast immediately grab your attention. The iconic songs, including “Good Morning Baltimore,” “Welcome to the 60s,” and the show-stopping finale “You Can’t Stop the Beat,” were delivered with powerhouse vocals and impeccable choreography.
The heart of the show, of course, is Tracy Turnblad, played by Alexandra Emmerson-Kirby in her professional debut. She was just sensational. Her incredible voice made her the perfect embodiment of this beloved character. The supporting cast was equally impressive, with standout performances from Edna Turnblad (Neil Hurst) and Wilbur (Dermot Canavan) certainly stole the show with “(You’re) Timeless to me”. Michelle Ndegwa also made her professional debut in the show as Motormouth Maybelle having been selected from more than 3,000 people who applied to the open auditions in November last year. “I know where I’ve been” is such an emotional number and to perform it in the way Michelle did, wow!
The set design was simple but visually stunning, capturing the spirit of the era with colourful projected backdrops and eye-catching costumes. Most touring shows follow the same process – and Hairspray delivered. The choreography was energetic and fun, with the ensemble dancers bringing a high level of skill. The show start seemed a little laboured and it probably wasn’t till the second number things started to gel.
I’ve said that I believe Hairspray has one of the most incredible show finales – even better than Les Misérables – granted no one dies in Hairspray and it would be like comparing a Mini with a Porsche. But it certainly leaves you with a smile on your face and a spring in your step. It’s a feel-good show that’s the perfect antidote to a bad hair day!
Venue Cymru, Llandudno July 30th – Aug 4th 2024 and touring
(5 / 5)
Irene Sankoff and David Hein
Smith & Brant Theatricals, Red Hanger, Gavin Kalin Productions, Tulchin Bartner Productions, Echo Lake Entertainment, Square Peg, Stephen and Paula Reynolds, Fiery Dragons, Judith Ann Abrams/Peter May, Nancy Gibbs, Curve Leicester
Come from away documents a remarkable experience. As the tragedy of 9/11 unfolded and American airspace was closed, many planes had to make unscheduled landings in far flung places. 38 of them landed at Gander airport, Newfoundland.
With a population of about 9000, the local community found themselves hosting 7000 unexpected incomers with a range of different languages, customs, medical and dietary needs. There were also 19 animals including a pregnant bonobo ape. This was a refugee scenario where the hosts were entirely unprepared. The days that followed demonstrated the best in human qualities. Food was drummed up, beds found, activities were organised such that lasting friendships were formed that have been sustained to this day.
Would the stage be the best place to retell these events or would a film be better? On the evidence of this performance, the energy and immediacy of the stage is a great platform and the cast exploited this story in excellent fashion. It was a prime example of ensemble theatre, a close knit team working together in a fast moving, intense drama. Actors do an outstanding job as they switch roles from hosts to incomers seamlessly and retell these events and their aftermath. There is a great backing group playing a range of Irish-Canadian melodies to enhance the action.
The individual stories invoke a range of emotions when you hear them. Diane and Nick were on the same plane, met and the following year got married. Hannah was worried for her son, a firefighter in Brooklyn yet was comforted by Beulah who also had a firefighting son. It is in the minutiae that the poignant moments rest. A moment when a Christian song, a Muslim chant and a Jewish incantation are heard as people pray, emphasising the importance of faith in coming to terms with life experience. A scene where an older gentleman reveals to a Jewish rabbi that he had a hidden Jewish background dating from his early life in Poland. Two people communicating through the use of Bible references to encourage each other when they had no shared language.
The welcoming nature of this Canadian-Irish community is graphically shown in the ceilidh held one night. It saw some visitors inducted as honorary Newfoundlanders through ‘screeching in’, drinking a shot of Irish whiskey and kissing a fish, a custom used to welcome new cast members to the show. This to me is an enduring legacy of a must-see show, the power of community. Had this town not been as tight nit and warm in its embrace, the experience of the incomers might have been quite different. As it is, they felt an immense debt of gratitude but in attempting to express this, received a standard response, ‘It was nothing, anyone else would have done the same.’ It was not nothing, it was remarkable. This makes the show a privilege to watch.
The Cardiff Open Air Theatre Festival’s final adult production is in full swing with ‘Guys and Dolls’, bringing Broadway to Wales in this electrifying, toe-tapping good time. The Theatre Festival’s musical option brings something unique yet, as always, high-quality to the proceedings, making for another crowd-pleaser as the festival draws to a close. All of this year’s performances have been nothing short of wonderful, and this show is another high point in a series of successes.
‘Guys and Dolls’ follows two couples, the new love between Sky Masterson (Josh Lewis) and Sister Sarah (Elle Dance), and the long-time love between Nathan Detroit (Kristian Zgorzelski) and Miss Adelaide (Rhian Morwood). The core four are all impressive, with great chemistry, and each of them handle both the drama and the comedy with ease. And to boot, their renditions of the show’s songs are all very impressive. A favourite of mine was Dance and Morwood’s performance of ‘Marry the Man Today’, their unique vocal skillsets come together in an incredibly satisfying way. The people that make up show’s heart and soul are thoroughly convincing and undeniably talented.
The highlight of any musical is the songs, and the cast brings the iconic music of ‘Guys and Dolls’ to life with great performances across the board. The solo performances are natural standouts, but the songs with more of an ensemble really highlight just how well-done the production is, with creative choreography and a fun energy. When there’s singing and dancing, there’s never a dull moment, the atmosphere was very fun to be in.
The staging was full of little changes and quirks between scenes, such as a swivelling sign and a moving tunnel, that were subtle yet seamless, and effective at creating the atmosphere. There was even a level of audience immersion, with the ensemble walking around us in our seats and even interacting with a few lucky guests, which made me feel like I was very much part of the party. By the show’s conclusion, the audience were fully roped into the experience, the energy during ‘Sit Down You’re Rocking the Boat’ was incredible.
‘Guys and Dolls’ feels like the ultimate victory lap for another successful year of the Cardiff Open Air Theatre Festival. It is further proof of the high marker of quality that the festival has, and it fully shows off their ability to consistently create effective drama and great crowd-pleasers. With its spectacular show-stopping, all-singing, all-dancing, Broadway style, this is not one to be missed.
Venue Cymru, Llandudno July 1st – 6th 2024 and touring
(4 / 5)
David Ian for Crossroads and Work Light Productions with Nederlander Producing Co. UK with Michael Watt presenting the Regents Park Open Air Theatre Production
Lyrics by Tim Rice and Music by Andrew Lloyd Webber
What’s the fuss? Tell me what is happening.
Telling the story of the last week of the life of Jesus through the eyes of Judas was an original, imaginative idea when this musical was first produced in the early 1970’s. Would this staging of Regents Park Open Air Theatre’s revival recapture that early promise? Owing to the nature of this story, this would be a near certainty. To recreate the crucifixion of Jesus on stage, if done well, can not fail to be dramatic and this production adds plenty of imagination to this already thought provoking musical.
The cast attacked this story with elan, Luke Street who played Judas in this performance was suitably moody and filled with angst. The moment when he took the payment for his betrayal was done very well. Ian McIntosh as Jesus grew into his role and provided some stand out moments especially as he was praying in the Garden of Gethsemane shortly before his arrest. Strangely though, Jesus is portrayed as a vulnerable man who is struggling to come to terms with his fate throughout the play. However, aside from his episode in Gethsemane, Jesus was in control and walked knowingly towards his fate, scathing to those who attempted to deflect him.
The choreography was well planned, purposeful and added to the drama. The set put the cross at the centre of the production, although it was odd that the chief priests walked on an instrument of torture that in Biblical times was a symbol of being cursed. They would have been ritually pure therefore would never knowingly touch such an instrument of death.
The musical is stuck in a time warp to some extent, the music and lyrics resonant of the early 1970’s and since then some of the stories concerning Jesus are less well known. It would help to have a good working knowledge of these biblical events. However, it was great to hear this score once again as some of the songs have become favourites for many. Hannah Richardsons rendition of ‘I don’t know how to love him’ and ‘Everything’s alright’ were beautiful.
It is easy to see the play is not without its problems including the logical flaw in its premise. Telling the story through Judas’ eyes is an intriguing idea, but of course, he was not around to see the crucifixion having already killed himself. He is the side story. The power in this story is not the actions of Judas, but what happened to Jesus. Even then, crucifixion in itself is not significant. It is just another, particularly grisly form of execution. One Roman commander crucified 500 people in one day. He would have killed more but ran out of wood. It is the death of Jesus that is significant and it is what happened to, and about Jesus after his death that makes this any story at all. To give Judas a sort of equal billing as Jesus after their death, sitting down together in the afterlife as the last scene depicted seems very strange.
However, we should not let factual relevance get in the way of a good story and this remains a striking piece of theatre that brings more awareness of the death of Jesus to the general public. While it may not be doctrinally sound to those who profess faith, it avoids being offensive as some other plays or films have been. The first time I saw the play if became a memorable experience. This too will stay in the memory for a while.
It’s always a challenge to bring something new and different in a Jukebox musical, where some, if not all, of the audience are going to know (and want to sing along to!) the songs. What is refreshing about The Drifters Girl is that it comes at the story of The Drifters from a completely different angle; that of Faye Treadwell, the woman behind the infamous band. Faye and her husband, George were the duo who brought us the musical sensation and it is really a breath of fresh air to focus on the duo and, specifically, the woman behind the music.
The stage is well designed, with moving flats creating recording studios, stages, bars and the office of Atlantic Music. I especially loved that the projections behind the performers crackled with static and black lines, the image distorting slightly and reminiscent of 50s and 60s television. The set moves seamlessly behind the actors meaning that new scenes and areas are created with no distraction to the action. Projection is particularly well used in the very funny section where we see the tumultuous time in the Drifters history where the members of the band were repeatedly changing; their names projected behind them as we manically try and keep up with these rapid shifts. Light and sound is also clever; I thought this was particularly poignantly used in the police interview sections, where bright white lamps flashed, and rapid blackouts took us straight to an Arkansas police station where the band were wrongly accused of a crime, simply due to the colour of their skin. Lighting was used to great effect with beautiful tableaus capturing the emotional moments; the band cast in blue light, spotlights, in darkness, whatever the moment called for.
The music is obviously a highlight of the show with toe-tapping numbers, including Saturday Night at the Movies, Come on Over to my Place, Save the Last Dance for Me and many more. The performers raise the roof with fantastic vocals and slick dance routines capturing the essence of the original performances. The Drifters switch with ease, becoming Ben E King, Rudy Lewis, Clyde McPhatter, Johnny Moore and the various other members of the band. It doesn’t matter which one takes the lead singer role; Ashford Campbell capturing starstruck Ben and tragic Rudy, Tarik Frimpong electrifying with his dance routines as Clyde and Daniel Haswell belting the high notes with ease as Johnny. Taking on the key role of George Treadwell is Miles Anthony Daley, breaking our hearts with There Goes my Baby, his voice soaring. The physicality and fast-pace costume changes is incredible to watch. Once minute they’re in the band, the next they’re feather clad showgirls! But throughout it all, you are never in any doubt as to which character you are watching.
The boys are complemented well with ‘The Girl’ played ably by Jaydah Bell-Ricketts, encouraging the tale to unfold; she is a constant presence on stage as she comes to understand the story of her mother’s part in the band’s history. Last and by no means least, is The Drifter’s Girl herself, Faye Treadwell played by Olivier Award Winner, Carly Mercedes Dyer. Her voice is wonderful, especially during Harlem Child and I Don’t Want To Go On Without You. You could hear a pin drop in the theatre as her vocals soared. She perfectly captures the battle that Faye Treadwell faced not only as a woman, but as a black woman in the music industry. Her command of the stage during her musical numbers is a joy to watch.
The show is full of humour and heart, but also touches on the racism faced by the band and Faye but also the sexism of the industry towards Faye. The words ‘No Irish, No Dogs, No Blacks’ remind us all too well of our own very recent history of racism and the issues we still face to this day. Faye being asked ‘how long she has worked FOR the band’ and then asked, ‘which one are you sleeping with?’ reminds us that women still face this kind of question, even today.
It’s ultimate message as the audience got to its feet at the encore is that we must keep going and ‘do what is necessary’ to overcome whatever might be thrown at us. Faye’s determination that the Drifters would go on after losing her husband, in the face of outright prejudice and bigotry is still such an important message to be taken home with us after we leave our seats. So, this is more than your average jukebox musical, which is what makes it stand out amongst the likes of Mamma Mia and We Will Rock You. Yes, the music is wonderful, but the message is just as important as the songs that will draw those audiences in.
I’m not sure what to expect as I take my seat at The Riverfront in Newport. A tree trunk branching over a stage set with psychedelic colours and ready for a rock gig is the perfect set for this show. The true story of the greatest drugs bust in history bursts onto the stage with its actor-musician performers alive with energy and blowing the roof off the theatre, even in the opening number.
The loveable cast of characters are introduced through their instrumental solos; an eclectic mix of guitars, percussion, cow bell, oboe and more. They switch between instruments, being ‘in the band’ and in the show and even between characters with poise and speed, costumes change in the blink of an eye, accents alter and even the stage crew are in costume, moving the set on and off stage. This means we are instantly transported back to the events of 1975 and 1977 in rural West Wales, the music mixing perfectly with the sometimes barmy, but always heartfelt plot.
The action opens with Londoner, Richard Kemp in his lab, mixing his latest batch of acid, the one that will cause a catalyst that he hopes will change the world. The couple of Richard and Christine are excellently played by Joseph Tweedale and Georgina White and their singing voices are amazing; ethereal in places, singing the prog rock score with ease. From there, we are catapulted into the lives of Smiles and Buzz with a hilarious section of Buzz driving Smiles to pick up his acid from various locations. Gerry accompanies them in a surreal yet side splitting section, where we feel ourselves swerving with the ‘car’ as Buzz spins the wheel. More excellent voices and fantastic comedic chops come from Daniel Carter-Hope, Sion Russell Jones and Dan Bottomley.
We visit the various other locations of the story including the police station where the ‘chameleon’ of the piece Phylip Harries delights us as PC Evans (he also plays Wil Bach and Wright throughout the rest of the tale). The scenes alongside Kieran Bailey as Richie Parry are so well executed, the lines pacey and thick with local references that the audience love. Richie is the perfect opposite to Steve Simmond’s cockney copper, Dick Lee. They’re like the original odd couple, colliding worlds, and personalities in their efforts to execute the largest drugs bust in history. A highlight for me, (without spoiling the surprise), is Steve’s musical number at the end of act one; he definitely got the audience rocking! Finally, Caitlin Lavagna gives a multi-role masterclass as she switches roles (and costumes!) with ease between landlady, Sgt Julie, Meg and Anne Parry.
These talented performers navigate the material with ease, expertly directed by Geinor Styles, who also wrote the show after interviewing a range of people who lived through the events, including Smiles himself and Anne Parry, Richie’s long suffering wife. This lends an authenticity to the piece; the characters live and breathe on the stage, brought to life through excellent writing. The musical direction also brings out the best in this talented cast, the music of the time brought to life by Greg Palmer.
The show is very funny, but at the heart of it all is a story which pulls us right back to the modern-day issues we are facing now. Kemp’s moving speech at the end, intended for his court case, but never delivered, is poignant; emphasised by the images projected behind him as he speaks. This movement was not only about the drugs; it was so much more; it was the start of a revolution intended to make people sit up and listen to the very real world issues starting back in the 70s and that we are now facing in 2024.
I was sorry I missed this when it toured in 2022, so I am thrilled I got to catch it this time. This psychedelic, surreal, trip of a musical play makes us laugh, makes us feel joy but is counterbalanced with this powerful message that we are left with as the music fades. The real-life Smiles sums it up perfectly; hoping the play hits the right chords of the serious issues that the LSD was trying to tackle, but also hoping that the sheer joy of the time is captured. I think the audience members would definitely agree that Operation Julie hits these targets and a lot more. Catch it if you can on this limited 8-week tour!
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(5 / 5)
(4 / 5)
(4.5 / 5)
