It was a privilege to be among some of the first visitors to attend a production at the newly refurbished Theatr Clwyd. Having been lucky enough to attend a tour during its reconstruction it is wonderful to see the (almost) completed work in all its glory. With substantial backing from the Welsh Government, Arts Council of Wales and Flintshire County Council and under the leadership of Executive Director Liam Evans-Ford and newly appointed Artistic Director Kate Wasserberg, the theatre is working with acclaimed architects Haworth Tompkins to complete the redevelopment.

The largest ever private gift to an arts institution in Wales came from The Moondance Foundation with a gift of £1.5m, hence the newly refurbished auditorium (formerly the Anthony Hopkins Theatre) being named the Moondance Theatre. And so, is it purely coincidence that the first production to grace the stage following the theatre’s reopening is Tick, Tick…BOOM!? A semi-autobiographical piece written by RENT writer Jonathan Larson and featuring the diner he worked at whilst attempting to carve out a living as a composer in 1990s New York. The name of that diner? The Moondance!

Tick, Tick…BOOM! follows Jon, a struggling composer in New York City, approaching his 30th birthday. He’s anxiously waiting for his ‘big break’ while wrestling with doubts about his career in musical theatre. As the clock ticks, Jon navigates pressure from his girlfriend Susan, who wants to move out of the city and start a family, and his best friend Michael, who’s abandoned acting for a lucrative corporate job in marketing. The story explores many themes which are also recurrent throughout Larson’s groundbreaking musical RENT– mortality (including the AIDS crisis prominent in New York in the 90s), artistic expression, love and relationships. We are also consistently reminded of RENT throughout Tick, Tick…BOOM!’s music- weaved into harmonies, recognisable chords and comparable melodies, all these a poignant reflection on Larson’s own life and aspirations. Tragically, Larson passed away from an aortic aneurysm on January 25, 1996, at the age of 35, just hours before the first public preview performance of RENT.

The UK premiere of Tick, Tick…BOOM! took place at the Menier Chocolate Factory in London in 2005, featuring Neil Patrick Harris as Jon, and has since only been performed a handful of times in this country. However, the musical was brought to the public’s attention again in 2021 in a film directed by Lin-Manuel Miranda and starring Andrew Garfield as Jon.

This production is placed in the hands of three performers, who not only play the main roles but also a plethora of minor roles throughout the show. Ryan Owen, Christina Modestou and Tarik Frimpong do this with equal amounts of talent, professionalism and ease that we feel completely relaxed in their presence for the duration. We hear three voices, but it sounds like thirty, we know Modestou is not only Susan but also Jon’s agent, Rosa (whom Friends fans cannot fail to compare to Joey’s hilariously memorable agent Estelle!), and yet we see two completely different people.

Having seen Owen in the comedy role of Glennie the Goose in Theatr Clwyd’s rock ‘n’ roll panto Mother Goose at Christmas, it is hard to believe this is the same guy! The role is worlds away from the amusing antics of a farmyard animal and demands guts, passion, incredibly strong vocals and the command to carry the piece. Owen did this with great aplomb, particularly during the almost five-minute long Why, a composition which journeys through all seasons of emotions! Christina Modestou shines as Susan. We empathise with her plight for a more peaceful, stable life and although willing her relationship with Jon to work out, we can’t help but understand the decisions she makes. Ironically, Modestou’s stand-out moment comes, not as Susan, but as Karessa, a performer taking part in Jon’s workshops for a musical he’s been working on called Superbia. During a public performance of these workshops, we hear Come to your Senses, a stunning ballad performed beautifully by Modestou, demanding an audience ovation! Similarly, the role of Michael is wonderfully portrayed by Tarik Frimpong with just the right amount of strength and fragility. There are so many wonderful moments between these characters- most notably Jon and Michael’s rocky duet No More in which they dream of the life with ‘no more faulty wiring, no more leaky ceilings and no more taking a shower in the kitchen’! and the ‘phone call fight’ (Therapy), a humorous take on a nonsensical argument between Jon and Sue (beginning with the lyrics ‘I feel bad, that you feel bad, about me feeling bad, about you feeling bad, about what I said, about what you said’…we can all relate!) The choreography for this is inspired- utilising telephone wires as props which eventually end up tangled as the argument escalates- a perfect reflection on the tangles we often find ourselves in at various stages in our relationships!

There are several clever set and design elements which stand out- the brilliant use of the revolving stage, symbolising the ‘treadmill of life’ which these characters find themselves on, as well as its practical use, for example to show physical journeys and to remove stage props and set. I love the use of the umbrellas during Sunday, during which Jon satirises brunch at the diner taking inspiration from one of his favourite musicals Sunday in the Park with George written by his idol Stephen Sondheim. And the way in which this scene transitions into a scene set in a car is pure genius (I won’t give the secret away!)

The costumes are perfect for the era, even the diner uniforms are wonderfully replicated, and the show is not afraid to be ‘a show’, using the crew in their Tick, Tick…BOOM! polos to move set and props when necessary. And I always enjoy being able to see the band- this time positioned above the action and even taking part in various scenes with blasts of dialogue!

Tick, Tick…BOOM! is the perfect piece to christen the reopening of this wonderful theatre. With a small yet stellar cast, themes of creation, performance and new beginnings and plenty of passion and emotion, I could not fault this production and am thrilled to have been privy to its beginnings as well as that of this new chapter for Theatr Clwyd.

Theatr Clwyd, Mold

Tuesday 10^th– Saturday 28^th June, 2025

Cast

• Jon – Ryan Owen
• Susan – Christina Modestou
• Michael – Tarik Frimpong

Creative Team

• Writer – Jonathan Larson (Book, Music & Lyrics)
• Director – Kate Wasserberg
• Musical Supervisor and Musical Director – Bob Broad
• Assistant Director– Dena Davies
• Casting Director– Polly Jerrold
• Voice and Dialect Coach– Aundrea Fudge
• Lighting Designer – Katy Morison
• Costume and Set Designer – Amy Jane Cook
• Choreographer – Lucy Cullingford
• Sound Designer – Andrew Johnson
• Wellbeing Facilitator– Hester Evans
• Producer– Wes Bennett-Pearce
• Company Stage Manager– Elizabeth O’Sullivan
• Deputy Stage Manager– Edward Salt
• Assistant Stage Manager– Emma Hardwick
• Drums– Richard Burden
• Guitar– Maria Rocha
• Bass– Olly Buxton

Running time: Approximately 1 hour and 30 minutes (no interval)

The Wales Millennium Centre is really getting the ‘Razzle Dazzle’ treatment with Chicago: The Musical storming onto the stage on its latest tour. Based on the 1926 play, of the same name, by Maurine Dallas Watkins, the musical is well known for its sexy, satirical take on the criminal justice system of 1920s America and the influencers of the day, the murderesses of Cook County Jail. The show opens with a single hat upon a chair and the mantra; “Murder, greed, corruption, exploitation, adultery and treachery…all those things we hold near and dear to our hearts.” This sets the stage for all that Chicago stands for and will deliver across the Fosse, Kander and Ebb penned musical.

Velma welcomes us to the show with ‘All That Jazz,’ interspersed with the action of Roxie murdering her lover, Fred Casely, as he attempts to break off the affair that has been going on right under the nose of her husband, Amos. The action quickly moves to the Cook County Jail where we meet Matron ‘Mama’ Morton and the inmates of the jail. They are the ‘celebrities’ of the day with each of them clamouring for press coverage and interviews and all of them desperate to work with smooth talking lawyer, Billy Flynn. The treacherous, fantastical events that unfold as the show progresses are complemented by some of the most well-known songs in musical theatre and the iconic, stylish dance moves that truly epitomise this as a Kander, Ebb and Fosse production.

Chicago always has a minimal set with chairs lining stage right and stage left for the performers to reside upon until they are called to the front of the stage. This iteration, however, includes the band front and centre with a huge band stand right in the middle of the stage, with steps and levels that the performers utilise to great effect, appearing and descending the stairs to the stage, even involving the conductor in the action. This change really brings the band into the centre of the action, and, after all, Chicago is all about the jazz at the centre of its story. The band become performers too; I particularly enjoyed the opening of Act II where they really stole the show during the entr’acte. The well-known music of the show really comes to life with this excellent band, musically directed by Neil Macdonald.

The dancing of the show is, of course, iconic and it is faithfully recreated here by choreographer Gary Chryst with direction recreated by Tânia Nardini. The ensemble is excellent; their synchronicity and execution of this classic choreography is flawless. They also multi-role and change roles mid scene seamlessly. The iconic sequences are recreated with poise and precision; the ‘puppetry’ in ‘We Both Reached for the Gun’ is particularly enjoyable as is the recreation of the original choreography by Bob Fosse in ‘Hot Honey Rag.’ ‘Cell Block Tango’ is also a standout moment in the show, brilliant vocals here perfectly complemented by fantastic choreography.

The production is cast well but I must particularly mention Brenda Edwards as Mama Morton. Her long-standing association with the role, (in fact the Mama Morton was her West End debut in 2006) is so evident. She is poise personified as she performs ‘When You’re Good to Mama;’ her vocals and confident portrayal here is a joy to watch, she truly owns the stage. I also particularly enjoyed Velma, played by Djalenga Scott. All three disciplines exceptionally executed, her opening of ‘All That Jazz’ truly shows off her abilities to the fullest. I loved the Velma and Mama duet, ‘Class,’ a quieter moment of the show in amongst all the madcap action, but there are some gorgeous harmonies here. Mister Cellophane himself, Amos Hart is brought to life before us by the talented Joshua Lloyd. He is hapless, yet loveable and ‘Mister Cellophane’ is performed to perfection. A special mention too to Jordan Lee Davies, as Mary Sunshine. His vocals in ‘A Little Bit of Good’ are insane, an impressive, assured performance and a fantastically funny reveal towards the end of the show!

Chicago is a sexy, stylish, fantastical, dark but often hilarious musical with just the right amount of drama mixed in with that well needed element of escapism. With a hugely talented cast and ensemble, songs that will have you tapping your feet and dance sequences that will make you want to jump up in the aisles and join in, it’s a fantastic night out that will high kick into your memory, sprinkle some ‘razzle dazzle’ and stay there for a long time.

(5 / 5)

‘Dear Evan Hansen’ is a musical about a high school senior who suffers from social anxiety, who fabricates a friendship with outcast, Connor Murphy, to achieve connection and popularity, after Connor commits suicide. Evan’s lie ends up out of control and leads to severe consequences; Evan becoming a symbol of Connor’s legacy, causing a chain reaction on his own life.

The set pretty much stays the same, yet creates life throughout the story like moving doors, on and off bedrooms and optical trees. Simple but effective!

Last, but definitely not least, the cast! Here are my favourites…
Tom Dickerson as Jared Kleinman, gave us the right amount of comedy to mix in with the show and gave us all a laugh. Killian Thomas Lefevre was fantastic as Connor Murphy. Even though Connor didn’t have much stage time, Killian honestly did not let that stop him, with lots of aggression but some softness. He showed us that Connor Murphy was sarcastic and rude but yet soft towards Evan on his last day. I must say Evan Hansen himself, played by Ryan Kopel, was absolutely brilliant. He showed everything Evan needed to be, anxious to tender and even showing the side of him that has outbursts.

Overall the show was honestly one of the best I’ve seen, it had everything it needed and it was everything it needed it to be, so stop ‘tapping on the glass’ and get yourself tickets for ‘Dear Evan Hansen.’

(5 / 5)

‘Today is going to be a good day’ and it certainly is a good day coming out of the new tour production of Dear Evan Hansen at the Wales Millennium Centre. The new production has a lot to live up to; a decade of productions since its first performance in July 2015. There has certainly been a huge number of changes for the world since the debut of the show too, with a pandemic lockdown, international conflicts which are still yet to be resolved and political and financial instability. Certainly, with all this ongoing, the themes tackled in the musical are more important than ever; the NHS regularly reports an increase in mental health issues with young people and in fact, the suicide rate in 2023 was the highest it’s been since 1999.

Having said all that, you may be inclined to think that the show is a fairly depressing affair, and it definitely has its moments of being on an emotional rollercoaster; I found myself in floods of tears at several points! However, the main mantra of the show signs through in its stunning score penned by Benj Pasek and Justin Paul (their impressive back catalogue includes work on La Land and The Greatest Showman), with stunning lines such as ‘you are not alone,’ ‘let the sun come streaming in’ and of course, the iconic, ‘you will be found.’ Based on a true story that occurred during Benj Pasek’s school years, I particularly love the fact that the characters, although likeable, are morally grey. They are so real and human that they bound from the stage and force us to look at our own decisions and life choices. It also truly emphasises that theme of ‘connection’ and that we all touch one another’s lives, sometimes without even intending to.

Therefore, this production has a lot to live up to! And it does so, with absolute ease, stamping its own new identity on the legacy of the musical. Starting with set, video design and lighting, (Morgan Large on set, costume and video, Ravi Deepres also on video and Matt Daw on lighting), I must say, that this production absolutely sets the bar and then smashes it. The way that this design all comes together and seamlessly integrates with performers on stage in a truly breathtaking way. There were several moments where I found myself with my mouth literally hanging open; from the moving ‘windows’ that have Evan literally waving through them, the ‘sun’ filling the whole stage as Evan sings ‘I climb ‘til the entire sun shines on my face,’ and the stunning montage of online footage as we hear ‘You Will Be Found,’ these moments are visually stunning and will stay in my mind for a long time. Huge congratulations to the team, they have created a truly stunning visual production with a very minimalist stage which enhances the performers rather than detract from them.

The small, but mighty, cast and ensemble of 14 certainly deserves the highest of praise. The ensemble creates beautiful tableaus and choreography (a credit to Choreographer, Carrie-Anne Ingrouille) and the chorus singing is stunning. The whole cast is wonderful, but I must make special mention to a few of them. Alice Fearn is a seasoned performer and having seen her portray Beverley Bass in Come from Away, I knew she’d be incredible as Evan’s mother, Heidi. She does not disappoint; ‘Good for You’ is gritty, angry and powerful and she flips it completely with a poignant, heart-breaking performance of ‘So Big/So Small.’ The true show stealer though is Ryan Kopel playing the titular Evan. I do not exaggerate when I say that his portrayal of Evan is phenomenal. His voice soars over the score with truly stunning emotional and lightness of touch in places and a powerhouse, emotional belt when required. His acting is a masterclass; he is instantly endearing and highly likeable immediately and he had me in tears from the beginning; from ‘Waving Through a Window’ to the showstopper of ‘Words Fail,’ where you truly could have heard a pin drop in the Wales Millennium Centre. They are joined by Lauren Conray as Zoe Murphy, Helen Anker as Cynthia Murphy and Richard Hurst as Larry Murphy, who exceptionally show the grief, or not, of the Murphy family; Killian Thomas Lefevre as Connor, who had me in absolute stitches in ‘Sincerely, Me’ and Tom Dickerson as Jared Kleinman and Vivian Panka as Alana Beck who bring brilliant vocals and fantastic humour to their roles.

The day you watch the newest production of Dear Evan Hansen is going to be a good day and here’s why…it breathes fresh life into an already beautiful show, elevates the score, brings moments of stillness and poignancy to the libretto and shows touring productions what can be achieved with simple yet impressive set, video and lighting design. It’s an important show for everyone to see; yes, the themes are hard hitting and you will find yourself emotionally drained by the end, but you’ll also find yourself uplifted, reaffirmed and knowing that even when things go wrong, when life seems its darkest, that we are connected, not alone and that, ‘you will be found.’

(4 / 5)

Ghost The Musical is based off the much-loved 90s movie of the same name, starring Patrick Swayze, Demi Moore and Whoopi Goldberg. The story follows Sam and Molly, a couple deeply in love, until their happiness is cut short when Sam is killed by a thug. Now trapped as a spirit, he discovers that Molly’s life is in danger and must enlist the help of a psychic to warn her before it’s too late.

Going in, I wasn’t very familiar with the story- I had heard of the movie but had never watched it- so I didn’t know what to expect. With my favourite musicals typically being heavily dance-based and fantastical, I wasn’t sure if this would be my thing. However, I was absolutely blown away- it was fantastic!

One of the most striking elements of this production was the clever and effective use of the set and staging. The set design was minimalistic yet immersive, with a permanent New York skyline backdrop, cutouts of buildings and rooms that descended, and movable props, which kept the scene transitions very quick and seamless. The iconic pottery wheel (if you know, you know!) was also a lovely touch, an understated nod to the original movie.

The lighting and sound played a crucial role in creating the show’s supernatural theme while also supporting the actors. When Sam (played by Josh St. Clair) died, a silhouette of the New York skyline appeared at the back, subtly reinforcing the spiritual element without the need to constantly remind the audience that he was a ghost. The outline was neon green but turned red when two of the villains met their fate. Combined with the actors being dragged away as they screamed in protest, this strongly implied they were being pulled into Hell, a small but effective detail that added an extra level of depth. Similarly, when Sam first passed, a rippling light effect washed over him, further enhancing that spiritual atmosphere. Sound effects were also well utilised, particularly in moments when Sam interacted with the physical world, like eerie noises accompanying his attempts to open doors.

Another particularly clever moment was when Sam learned to manipulate objects from the subway ghost, crucial for the story later on. The way the sequence was staged completely immersed the audience, making us truly believe that he was moving things with his mind. A very powerful and emotional moment was when Molly (played by Rebekah Lowings) finally believes the psychic Oda Mae (played by Jacqui Dubois) that she is conversing with Sam. Earlier in the show, just before he is killed, a song explores how he struggled to say, ‘I love you’, instead replying with ‘ditto’. This small but significant word became the turning point of the story when Oda Mae repeated it to Molly, proving beyond doubt that Sam was there.  

The production excelled in building suspense and character depth, like hinting at Carl’s villainy long before it is outright revealed is impressive. His scenes and sections in songs were underscored by ominous, minor-key music and a heavy ensemble backing, subtly foreshadowing his role in the story without giving it away, and means that the audience can sense something is off about his character before the dramatic reveal, adding further tension.

The creative team made several smart choices that enhanced the actors’ performances. One of the most impressive aspects was how seamlessly the actors immersed the audience in the world of the show. The actors- particularly Oda Mae- did a fantastic job of pretending not to see Sam on stage, creating the believable divide between the living and the dead. However, what made the production even more effective was the use of lighting, sound and staging to reinforce the supernatural theme. Rather than relying solely on the actors to establish these elements, the technical aspects of the show immersed the audience in its ghostly world and allowed the performers to focus on their character work. The combination of all these elements made the production an outstandingly engaging and atmospheric one.

This musical is on a completely different scale from something like Wicked- if you’re looking for elaborate dance numbers, huge ensemble harmonies, and much fantasy, then this may not be for you. But if you just love a love story and the magic of live theatre, with a thrilling touch of the supernatural, Ghost the Musical is absolutely worth seeing. It’s playing at the Wales Millenium Centre until Saturday 8^th March- so go on, you know you want to!

https://www.wmc.org.uk/en/whats-on/2025/ghost-the-musical

(5 / 5)

As the lights dim and the first notes play, the audience is instantly pulled into a wave of energy and emotion. The room buzzes with anticipation, knowing this is more than a performance—it’s an experience. Hamilton isn’t just a musical, it’s a look at America’s evolving identity, its history, and legacy complexities.

The stage, simple yet full of movement, becomes a character itself. With purposeful choreography and smooth transitions, it reflects Hamilton’s fast-paced life and the revolution he sparked. As the cast moves with energy, the audience feels drawn in, no longer just watching history but experiencing the ambition, ideals, and struggles that built the nation.

Lin-Manuel Miranda breathes new life as a vibrant, modern story of Alexander Hamilton, a relatively overlooked Founding Father, crafting a narrative as bold and innovative as Hamilton himself. By blending hip-hop, R&B, and traditional Broadway, Miranda mixes history with a modern twist, creating an energetic retelling of America’s origins that feels both relevant and engaging, allowing audiences to connect with the story. Its true brilliance shines through its diverse cast, portraying America’s founders—a powerful reminder that history belongs to everyone. The lyrics are sharp, clever, and deeply emotional. Songs like “My Shot” and “The Room Where It Happens” delve into ambition and power, while “Burn” and “It’s Quiet Uptown” deliver raw, heart-wrenching moments.

The show is a feast for the eyes and the heart. The rotating stage adds depth and symbolism, representing the continuous flow and ever-changing perspectives of history. The performances grab you and don’t let go, Sam Oladieinde’s Burr keeps us hooked, making us question if he’s the villain or just tragically human.

Miranda’s Hamilton is a force of nature, leaving us breathless with his unstoppable energy. Billy Nevers steals every scene, switching from the flashy Jefferson to the lively Lafayette with effortless charm. King George III pops in now and then, stealing the show, with Daniel Boys nailing it in gloriously over-the-top camp style.

It’s rare to see a hip-hop musical with impressive choreography, rap battles, and locking, especially one done so well that it makes you want to get up and dance. It was great seeing Cardiff’s, Levi Tyrell Johnson performing in the ensemble.

Shaq Taylor was exceptional as Hamilton, bringing both strength and moments of humour to the role. His commanding stage presence was undeniable, but it never overshadowed the equally impressive cast. The audience’s applause and whoops of delight after every song reflected the high energy and joy the cast brought, showcasing their talent and strong camaraderie. Maya Britto’s portrayal of Eliza was powerful and emotional, especially in “Burn,” where she conveyed deep anger and betrayal. In the reprise of “Stay Alive,” she perfectly captured the heart-wrenching grief of a parent losing a child, leaving the audience profoundly moved.

The real magic of Hamilton goes beyond the performances and music—it’s how it makes us feel deeply connected to the characters and their struggles. We see our own ambitions in Hamilton’s relentless drive, our regrets in Burr’s hesitation, and our grief in Eliza’s heartache.

Hamilton is one of the best musicals I have ever seen. If you haven’t already got tickets run to get them now, you’ll be swept away!

(4 / 5)

Rocky Horror show is certainly a cult hit by this point, clearly evidenced by the masses of Franks, Riff Raffs and more in the New Theatre foyer area, along with an abundance of corsets, high heels and golden top hats. It’s always an experience attending a production of this show, even from the moment of stepping into the theatre! But after all these years, does the classic show still deserve its prominent status?

The show looks back to its classic roots but with a fresh new face, courtesy of direction from Christoper Luscombe and excellent synchronicity from choreographer, Nathan M Wright. The Phantoms and cast are slick, utilising the full stage and, surrounding, but never encroaching upon the main action. There is a freshness and a joy to the movements which I think I’ve missed in other productions of this show. The contrast between the bright, popping colours of the first scenes and the later darker, yet still fabulous interior of the castle is expertly designed by Hugh Durrant. The whole set is surrounded with a twisting film reel and the musicians sit above it all, looking down upon the action. Lighting makes the stage truly pop with disco balls, lasers, projections directly onto the stage and more, another layer to the craziness of the plot, designed by Nick Richings.

The music is iconic of course and is lavishly brought to life here by a talented Josh Sood and his band, Ollie Boorman (drums), Dan Humphreys (bass guitar), Liam Spencer-Smith (guitars) and Dave Webb (reeds). Having them onstage rather than below in a pit really makes them a part of the action and ensures that the music envelops the audience in those well-known musical numbers. The songs are performed with panache by the band; the stand outs are Sweet Tranvestite and, of course, the incredible, Time Warp, which had multiple members of the audience up on their feet and dancing along.

What truly made this show for me was the outstanding cast; each and every one of them gives us a truly joyous performance; the singing and comic timing is particularly good. Lauren Chia and Connor Carson are lovable and clueless as our young lovebirds, Janet and Brad; I particularly enjoyed their rendition of Once in a While, beautifully harmonised, a tender moment in a somewhat manic and crazy show. Job Greuter, Natasha Hoeberigs and Jayne-Lee Zanoncelli are the life and soul of the party as Riff Raff, Magenta and Columbia. As the leading force behind Time Warp, they literally blow the roof off the New Theatre; the vocals and performances here are exceptional. I was also really impressed by Greuter’s vocal performance in Over at the Frankenstein Place. Edward Bullingham also delivers an excellent version of Hot Patootie, bursting onto the stage as Eddie and returning later as Dr Scott.

The Narrator must be an intimidating role to step into in this show, he is, after all, the victim of most of the heckling from the audience. However, Nathan Caton truly utilises his comic chops here, gives the audience as good (and sometimes as rude and crude!) as he gets, and his responses are so fast and witty that the hecklers need ice for his burns by the end of the show! He is effortlessly funny, bang up to date and owns the stage whenever he steps onto it. Frank N Furter is performed on 4^th and 5^th November by Stephen Webb, a veteran of the show who has played the role on multiple occasions. From the moment the doors open, and he appears, draped in his cape to perform Sweet Transvestite, to the final curtain call, Webb is a brilliant, loveable yet devilish Frank, strutting across the stage with so much poise, a twinkle in his eye and a phenomenal voice. His performance of I’m Going Home was such a poignant moment, proving he can show us the softer, more tender side of Frank too.

The show is truly a rollicking, fast paced, no holds barred production, and the finale has the audience up and dancing as one. The plot is insane, but it doesn’t matter; for two hours the audience laugh, heckle, clap, dance and even sing along in this bonkers yet full of heart production. Whether you’re a long-time attendee of the show or its your first time seeing it, there’s something for everyone here, but just make sure to leave your inhibitions well and truly at home!

(4 / 5)

The tale of the Witches of Oz flies back in the Wales Millennium Centre; the tale of what happened before Dorothy dropped into the land of Oz has been captivating audiences on Broadway since 2003 and in London since 2006. The West End’s 10th longest running musical has also toured extensively and is truly a well-loved musical if the sales of the five-week run at the Centre are anything to go by!

The opening number, ‘No One Mourns the Wicked’ is a familiar point from the classic, Wizard of Oz. The Wicked Witch of the West is dead, and the citizens of Oz are celebrating that the ‘enemy of all of us here in Oz’ is finally gone. I love the opening of the show, the flying monkeys winding open the Time Dragon Clock, the Time Dragon himself breathing smoke, eyes glowing, flaps his wings above the stage. The ensemble is electric, and the harmonies are tight. Sarah O’Connor, arriving by bubble (of course), soars in this number; her vocals and comic timing are excellent.

From there we move back to the first meeting of Elphaba and Galinda back in their university days at Shiz. Laura Pick sets a great tone as Elphaba, spiky and defensive with a distinct element of dorkiness; her characterisation here was a breath of fresh air into a character that I’ve seen portrayed on many occasions. Laura soars in ‘The Wizard and I,’ moving effortlessly from on guard Elphaba to one full of hope and dreams. I thoroughly enjoyed the way she explored her various sides; moving from this into a hilarious rendition of ‘What is This Feeling?’ with Sarah O’Connor.

The cast and ensemble bring pure joy to the Donald Gordon Theatre; Carl Man upsetting the calm of university life in ‘Dancing Through Life,’ Donna Berlin playing a delightfully loveable yet evil Morrible, Jed Berry is an adorable Boq, besotted with Galinda, Nessarose is sweet but with a simmering anger played ably by Megan Gardiner and Simeon Truby is truly the ‘goat’ of the piece, multi-roling as the bumbling but heartfelt Dr Dillamond and then hamming it up as the ‘wonderful’ Wizard of Oz. The emphasis on characterisation was appreciated. This is probably the most in depth I’ve seen the characters explored and it was satisfying to see them brought to life with such precision and thought.

It’s inevitable that a touring production is slimmed down from a London, resident production. However, all the key elements are here, and it was hard to find too much that was different from the production in the West End. I loved that the Time Dragon is proudly positioned above the stage; his eyes glowing red and his wings flapping at the opening but also at key moments in the show. Having read (and adored) the book, it’s lovely to see this element brought across from the page to the stage. The key moments from London are all recreated here, including the iconic flying in ‘Defying Gravity,’ Laura rising through the air to belt out those last notes of the iconic song.

All in all, this is a thrillifying production of the classic musical with a talented cast, staging, choreography, and direction (both acting and musical!). The show is one that can be enjoyed by all ages, something different being discovered by each audience member no matter how old or young. It was lovely to see a new interpretation of the show to prove that although it’s been wowing audiences since 2003, there is no sign of this musical going anywhere.

Wicked is a show that truly defies gravity, so make sure you dance through life down to Cardiff Bay and see Wicked before it flies out of town ‘for good’ on 23rd November!