Category Archives: Opera & classical

Arts Online, A Guest Post by Megan Pritchard, Marketing Campaigns Manager at National Dance Company Wales

We are both saddened to see the vast array of cultural cancellations over the past day and proud to see so many companies putting the health of their staff, participants and audiences first. 


The arts are an important part of many of our lives, and we’re also excited to see so many isolation friendly options arising. We’ve started a list of online dance and yoga classes, digital only festivals and a huge array of dance, opera, theatre, museums and CPD activities you can do from home – including full NDCWales performances.  Please share this resource and let us know of other fab things we can add to it. 

______________________
Mae’r ddau ohonom yn drist iawn o weld yr ystod eang o ddigwyddiadau diwylliannol sydd wedi cael eu canslo ers ddoe ac yn falch o weld cymaint o gwmnïau yn rhoi iechyd eu staff, cyfranogwyr a chynulleidfaoedd yn gyntaf.
Mae’r celfyddydau yn rhan bwysig o fywydau sawl un ohonom, ac rydym hefyd yn teimlo’n gyffrous i weld cynifer o opsiynau y gellir eu gwneud wrth hunan-ynysu yn codi.Rydym wedi dechrau rhestr o ddosbarthiadau dawns ac ioga ar-lein, gwyliau digidol yn unig a llu o bethau yn seiliedig ar ddawns, opera, y theatr ac amgueddfeydd, a gweithgareddau y gallwch eu gwneud adref – gan gynnwys perfformiadau CDCCymru llawn.


Rhannwch yr adnodd hwn a rhowch wybod i ni am bethau gwych, eraill y gallwn eu hychwanegu ato.


***********
DANCE CLASSES 
Gaga is a unique dance training, Gaga Movement Language גאגא שפת תנועה NYC are currently offering 3 classes a day 7 days a week with a suggested donation.  https://www.gofundme.com/f/gaga-nyc-online-classeshttps://www.facebook.com/groups/mootmovementlab/


Moot – The Movement Lab are making their resources as available as possible and have great updates on other training online. 


Juliard School of Performing Arts are running ballet barre classes through instagram https://www.instagram.com/juilliardschool/


You can learn the famous Rosas Danst Rosas from Anne-Teresa De Keersmaecker here online, easily done at home with a kitchen chair  https://www.rosas.be/en/news/814-dance-in-times-of-isolation


The Dance Centre is offering fun online musical theatre inspired classes. https://www.facebook.com/1thedancecentre


Rebecca Lemme / Acts of Matter offers a free online Barre Class you can do without a proper Barre https://vimeo.com/398046579/cdfec48e01?fbclid=IwAR2AlsTXHcg7–4ulAhmvpNotiVJIMz3Z3v_PIYW6pKyT0bZ_JQFfJN0Cow


The Guardian has an article on tips for dancing at home.https://www.theguardian.com/lifeandstyle/2020/feb/22/fitness-tips-online-dance-tutorials?fbclid=IwAR2DKtULuSlfcB7TueCKqAbegoM4OYJFrRoCX5mwpwsWO_NILQsn6sHKXxI


YOGA CLASSES

Overwhelmingly our dancers suggest following Yoga With Adriene for youtube yoga https://www.youtube.com/user/yogawithadriene


Cat Meffan Yoga – another office fav, with a huge range of free classes on youtube. https://www.youtube.com/channel/UCVrWHW_xYpDnr3p3OR4KYGw


Our dancers also enjoy the Down Dog App which also has a ballet barre class option https://www.downdogapp.com/


Rosanna Emily Carless our Dance Ambassador is streaming free yoga classes daily on her facebook page.


AT HOME ARTS FESTIVALS IN RESPONSE TO COVID-19


These festivals aim to gather streamed content and classes in different ways – Social Distancing Streaming Concerts https://www.socialdistancingfestival.com 

The Social Distancing Festival https://creativedistance.org/ 

Creative Distance, The Theatre Cafehttps://www.facebook.com/thetheatrecafe/photos/a.1597256473856456/2552997778282316/?type=3&theater 


LIVE EVENTS STREAMED TO YOUR DEVICES 


NDCWales P.A.R.A.D.E.  including choreography by Caroline Finn, Marcos Morau and Lee Johnson, in collaboration with BBC National Orchestra of Wales, Rubicon Dance and Vertical Dance Kate Lawrence; filmed by The Space Arts. https://vimeo.com/248459479


Tundra by Marcos Morau https://vimeo.com/254300487


Reflections documentary and dance film from our Dance for Parkinson’s participants. https://vimeo.com/ndcwales/reflections


The Metropolitan OperaAre running nightly live streams, up at 7.30pm(EDT) each left up for 20 hours. http://metopera.org/

Rosie Kay’s 5 Soldiers https://youtu.be/2urN4ESejFo

Or Zosia Jo’s – Fabulous Animal is available to stream for donation here https://www.zosiajo.com/fab-animal-film


Berliner PhilharmonikerUse the code BERLINPHIL by March 31 to get 30-day access to the orchestra’s stunning work https://www.digitalconcerthall.com/en/home


Marquee TVOffer plays, dance, opera and theatre all to stream on a Netflix like service, offering free 30 day trial at the momentmarquee.tv

Twitter Search #togetherathome to see bands streaming intimate concerts live from their homes.

 
The Guardian have posted their own list now too  https://www.theguardian.com/stage/2020/mar/17/hottest-front-room-seats-the-best-theatre-and-dance-to-watch-online?CMP=share_btn_fb

Filmed on StageHosts links to mostly paid streams of large Broadway shows and musicals http://www.filmedonstage.com/

You can watch the west end production of Wind in the Willows here https://www.willowsmusical.com/ 


Netflix and Amazon Prime VideoBoth have a small selection of stage shows to stream


Other Cultural Activity 


Free Museum tours from across the world https://www.travelandleisure.com/attractions/museums-galleries/museums-with-virtual-tours


Free colouring pages from museums http://www.openculture.com/2019/02/download-free-coloring-books-from-113-museums.html?fbclid=IwAR3wPlZLs00PCl-tilb9jXHKJPUSDa2oui1SHQC-iEsh40w7b_ZN5DIyglU


Free National Park tours https://www.thrillist.com/news/nation/google-earth-virtual-tours-of-us-national-parks


David Bowie is At the V&A MuseumAn augmented reality tour of the singer’s costumes, notebooks and life’s work. https://davidbowieisreal.com/


CPD FROM HOME 
ETC have made their online training courses free during this time: training for technicians Courses.etcconnect.com  The following performers offer one to one tuition, find them on facebook. 


Rubyyy Jones – Cabaret MCing Paul L Martin – mentoring for cabaret performers  John Celestus – one to one Flexibiliy and Strength, contortion, compare 
Skillshare International Offers photography, illustration, design with a 2 month free trial available https://www.skillshare.com/


Welsh for work with Learn Welsh Cardiff – Dysgu Cymraeg Caerdydd A 10 hour course free https://learnwelsh.cymru/work-welsh/work-welsh-courses/work-welsh-taster-courses/


Say Something in Welsh A podcast based language learning system with free and paid options including Welshhttps://www.saysomethingin.com/


Duolingo The number one free language app has a great Welsh course toohttps://www.duolingo.com/

Carmen – A Review by Eva Marloes

4 out of 5 stars (4 / 5)

The latest WNO’s production of Carmen is engaging and well executed though still a little too traditional. The excellent cast, choir, and orchestra make this Carmen spirited, colourful, and vibrant. Julia Mintzer as Carmen is pure energy and grit. This is a great improvement from last year’s production, which lacked tension and teeth. Mintzer has stage presence and a voice to match it. She is a credible Carmen who never falls into stereotype. She’s sensual and defiant. She defies her murderer but also fate. Carmen is a woman who does not want to be confined to a role, not even the role of outsider. It is her stubborn individuality that leads her to her death. She does not flee nor does she accept to be under the authority of a man.  She is not a victim.

Elin Pritchard as Micaëla is superb. She has a beautiful tonality and conveys Micaela’s pure love and compassion with dignity. Mintzer and Pritchard complement each other beautifully in their acting and their singing. Peter Auty is an impressive Don José. Giorgio Caoduro seems at ease performing Escamillo and much more convincing than he was in Les Veprês Siciliennes. All the members of the cast give strong performances. The choir is, as ever, powerful. The children, in particular, are formidable. The dance is captivating and well integrated in the scenes.  

I remain unpersuaded by the setting in Brazil’s favelas and the grey brutalist scenario; yet the much improved acting and movement on stage help make this more relevant. The intent is to stress class as well as gender, but it feels too traditionalist and conventional. I would have preferred the production to be bolder. In recent years, there have been women protesting against femicide and rape in Latin America, Europe, and India. They have often used theatre and song to do so. There have been women protests against draconian abortion laws in the US, where women have donned the red cape and white hat from The Handmaiden’s Tale. Yet there is no anger in Jo Davies’ WNO production. It could be objected that opera is for a traditionalist and bourgeois elite, but I sat surrounded by many young women in their early twenties. Carmen can speak to those women. There should be not fear of being over the top. Being over the top is what Carmen is all about.  

Les Vêpres Siciliennes – A review by Eva Marloes

2.5 out of 5 stars (2.5 / 5)

The WNO’s powerful choir and masterful conductor Carlo Rizzi excel in this disappointing production of Verdi’s Les Vêpres Siciliennes. A challenging opera, Les Vêpres, is let down by voices lacking the sufficient power required by Verdi’s music and an ill-judged set design. In contrast, the short but effective dances, choreographed by Caroline Finn of the National Dance Company Wales, add an extra dimension to the unfolding of the story. 

The cast overall lacks voices that can match and rise above Verdi’s score, with the exception of Jung Soo Yun, who interprets Henri and has sufficient presence throughout the opera. The soprano Anush Hovhannisyan, interpreting La Duchesse Hélène, underperforms in the first part of the opera. She lacks coloratura, but her more spinto voice excels in the second part. The WNO have a strong Verdi repertoire. The choir is as strong as ever and so is the orchestra, conducted by Carlo Rizzi. The production is let down by the self-indulgent aestheticism of the set design by Raimund Bauer that falls for misogynistic forms. 

Les Vêpres Siciliennes refers to the massacre in 1282 by Sicilians of the Angioine lords who had taken possession of Sicily from the Spanish Aragonese. Sicilians rise up in response to the rape of ‘their’ women. One need not be an anthropologist to know that women and their bodies have always been taken as the symbolic and spatial boundaries of the nation. Rape continues to be a weapon of war because of its symbolism. Women are owned by men. The enemy takes possession of land and power through rape. This includes the raping of men who are, in this instance, feminised.  

In this production, the rape is conveyed by parading a dinner table displaying lavish food and naked women. This is followed by a woman with red marks on her naked back strapped sensuously to red strings. It is disturbing that in this day and age, one should remind directors that the glamorisation of violence against women is misogynistic. It is the same aesthetic indulgence seen in the film Nocturnal Animals by Tom Ford. Directors should stop making women into beautiful objects and beautiful victims. In contrast, the dance telling the story of the rape of Henri’s mother and his birth is powerful and tasteful. It is choreographed with subtlety and a touch of humour. 

In Verdi’s opera, Sicilians rising up to the foreign conquerors is more than a nod to the Italian Risorgimento but also to the popular sentiment against despotic landowners. Yet the nationalistic references to dying for one’s country feel uncomfortable today, at a time of nationalistic nostalgia. The libretto cannot be changed but the set consisting of a series of black frames and an over indulgence in silhouettes makes for an oppressive atmosphere. The aestheticism of this production fails to grapple with the issues and to support the interpretation on stage. 

Review Les Vepres Siciliennes, WNO by Becky Johnson

3 out of 5 stars (3 / 5)

Produced by the Welsh National Opera, Les Vepres Siciliennes, stands as one part of the trilogy released this spring term. This was my first experience of an opera, only previously dabbling my toes in with WNO’s collaboration with National Dance Company Wales in Parade. I felt like something which utilised dance in which I’m more familiar would act as a great entry to the world of opera. And in that, I was correct.

Before the performance began, both at the very beginning and after the interval, the orchestra gave an instrumental opening. This transcended us into the themes of the piece, providing context and a gateway for what we were being propelled into. These were incredible and whisked you in and out of your own thoughts, trying to make sense and pre-empt what was to come.

As the curtains raised, a simple, stripped back set emerged. A rectangular frame which was lit with a box light, formed a storyboard backdrop in which the piece would take place. The set remained as one of my favourite components within the piece, it really made the performance more modern and with the constant re-arranging of various frames, kept the audience’s attention focussed. The frames allowed the audience to see difference upon the stage and engage in different perspectives, that of memories of the past and the difference of location in the present. However, one concern from the set is that due to its’ abstract nature, it reduces the accessibility of the piece. For those with hearing difficulties, the lack of a definitive nature within the background provides no context and makes the plot hard to follow. Also due to the thickness of the frames, your view is restricted regardless of positioning of seat which means at times you can’t see key moments of what’s occurring on stage.

Also, along the terms of accessibility, the placement and structuring with the subtitles was problematic. It was severely difficult to see the stage and read the subtitles at the same time so often important moments of the plot were missed (both in context from the subtitles and in performance on the stage). It also became confusing when two characters were holding a conversation as there was no way to see difference within the text as to who was stating what and whether the text was in time with the vocals or not. I would propose maybe matching a colour to a performer and from there more of an understanding could be built.

The imagery throughout the piece was beautiful in its simplicity. It played with shadows and outlines and how people fell into and out of the light using silhouettes to make powerful, thought provoking statements. The use of darkness created the ambience for the work but was broken by bright coloured costumes which created contrast from the otherwise black costumes.

A piece of imagery that still resonates with me now is that of a gold table being dragged around the stage with the dancers limp and naked, draped over the table like meat at a banquet dinner. This embodiment from the dancers really added depth to the performance throughout and I often found the moments in which the dancers were included provided the much-needed breath for the performance, often bringing a sense of lightness to what would be an otherwise dark stage. The involvement of such an abundance of dance within the opera was a brilliant decision as added the much needed movement and transitions onto the stage. This also provided light-heartedness and a more intense context for what was happening within the storyline.

I felt the performers, both ensemble and main cast, otherwise lacked the embodiment of their characters which was needed. They sang and performed beautifully but the small details such as the realism of touch and emotion seemed absent. For example, at times of compassion, hands were resistant from those whom they were compassionate towards. These moments were both when the performers were acting and responding to what was being sang. This intention would normally provide clarity into the storyline of the piece and without investment from the characters, the emotional plot of the story became difficult to follow.

In Summary Les Vepres Siciliennes provided a perfect gateway for me into the world of opera. The mixture of dance, choreographed by Caroline Finn, and opera made it a lot more accessible for me and with such beautiful imagery throughout I was enchanted and engaged.

Review The Marriage of Figaro, WNO by Eva Marloes

5 out of 5 stars (5 / 5)

Mozart’s beautiful arias are performed with dexterity and spirit by an excellent cast who is able to convey the levity, depth, and social criticism of The Marriage of Figaro. The strong performances are supported by the formidable WNO’s choir and orchestra conducted with brio by Carlo Rizzi.  

The choice of scenario and early 18th century costumes indulge the fancies of the audience for a delightful farce where love is a game. We laugh at the jokes and smile at the subterfuge. That sense of play and adventure that pervades the opera might fool the audience into thinking that the Marriage is theatre that has little to do with reality; yet the apparent lightness allows a radical critique of class and gender.  

Based on Beaumarchais’ La Folle Journée (1784), Lorenzo Da Ponte penned a revolutionary libretto, which shines a light on the lives of ordinary people. It is servants who are the protagonists of the opera. We get into their bedrooms, literally, and hear their perspective on their social status. Figaro is about to get married to Susanna and the two ponder their situation in life as servants. At any moment Figaro can be called and sent away by his master, the Count d’ Almaviva, while Susanna is subject to sexual harassment from the Count.  

The choir of servants sing to the Count in gratitude for giving up his ‘droit de seigneur’, his right over his servants to spend the nuptial night with the bride. Although there is no evidence of such a practice, the reference emphasises the lack of rights servants had vis-a-vis their lords.  It is sadly poignant today, not only in the aftermath of the #metoo movement, but also at a time when labour, including professional labour, is exploited and rights have been eroded by moving to increasingly precarious work. 

In the opera, the women are conscious of their weak social status and use marriage to gain independence. They play with the men’s sexual desire pretending to be unfaithful. Susanna exposes Figaro’s lack of trust, the Countess makes the Count reckon with his unfaithfulness, while the peasant girl Barbarina blackmails the Count to marry Cherubino and thus improve her social status.  

The twists and turns are not merely for comic effect, they make the characters face themselves, their weaknesses, desires, and values. The Countess, interpreted by the superb Anita Watson, is afflicted by her husband’s philandering. By making her husband face up to his unfaithfulness, the Countess makes him realise that there is no happiness in chasing women. The Count finds redemption in being forgiven by the Countess. 

In this well-performed production, Soraya Mafi (Susanna), Anita Watson (Countess), Leah-Marian Jones (Marcellina), Anna Harvey (Cherubino), and David Ireland (Figaro) ensure a perfect balance of merriment and depth.  

Review, New Year Gala Concert, New Sinfonia, St Asaph Cathedral by Gareth Williams

New Sinfonia Orchestra
4 out of 5 stars (4 / 5)

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.

Erin Rossington

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.

Click here to find out more about NEW Sinfonia.

gareth

The Get the Chance 2019 Cultural Highlights

Sian Thomas

1) https://getthechance.wales/2019/10/30/review-heartsong-by-tj-klune-by-sian-thomas/. I was so excited for this book to come out and it really delivered. It’s on one of my favourite series with an exceptional way of world building and atmosphere, and the way the characters act towards each other and their surroundings is incredible. It’s funny, loving, and full of action, and I love it.

2) https://getthechance.wales/2019/05/02/review-every-word-you-cannot-say-by-iain-thomas-by-sian-thomas/. Another amazing book from Iain Thomas. Also it’s very new and different! Bright, too. Since the I Wrote This For You collection all have white/grey colour schemes, this one being bright blue was a lovely change. I adore it – it’s got some really powerful words in it, too.

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!

Barbara Michaels

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 actually work.

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 family. 

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.

Barbara Elin

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)

Rhys Payne

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.

Stammer Mouth

A fantastic and modern piece of theatre that literally gave a voice to someone who doesn’t have one.


Gareth Williams


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. 

35 Awr 

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.


Anorac

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’.

Samuel Longville

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.

Richard Evans

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.

Yes Prime Minister,Theatr Clwyd

Review Les Misérables, Cameron Mackintosh, Wales Millenium Centre By Rhys Payne

5 out of 5 stars (5 / 5)

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.

An Interview with Sam Pullan Nominee for Young Person of the Year, National Rural Touring Awards 2019.

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.

Aberdyfi Players directors Su Tacey and Des George outside the Neuadd Dyfi earlier this year with the two awards for Best Pantomime overall in their District in Wales and Best Stage Management and Special Effects. Amateur Theatre National and Operatic Dramatic Association (NODA) for their 2018 production of Aladdin.

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.

The next productions to play at Neuadd Dyffi are,

Mrs Peachum’s Guide to Love & Marriage by Mid Wales Opera

Roots by National Dance Company Wales.

National Dance Company Wales are also running a free Day of Dance at Neuadd Dyfi on Saturday the 23rd of November. Booking details are below.

Review Heaven on their minds, Calvary Baptist Church By Rhys Payne

5 out of 5 stars (5 / 5)

This is the best concert-style show that I have ever seen in my entire life! This was an incredible show vocally but on top of this everything about the show was well throughout and planned. Ben Smith who organised this event had a very clear idea for the type of show he wanted and was able to execute this perfectly.

This show ran inside Calvary Baptist Church which firstly provided a beautiful backdrop for each singer. Secondly the whole premise of this concert was songs that had a connection to religion whether this was through lyrics or songs from musicals that have religious connections (eg Joseph, Godspell, Jesus Christ Superstar etc.) having a concept that ties together the whole show just makes for a consistent, easy-to-watch show that the audience can follow in a logical way. Ben had come up with a very clever theme for the that allowed a wide selection of songs to be sung as well as being relevant to the venue itself which is incredibly clever.

The name itself together tied the two ideas of ‘church’ and musical theatre as ‘Heaven on Their Mind’ is a song from the faith-based musical Jesus Christ Superstar which is again the entire concept of the show. I can’t express how impressed I am with Ben and the other organisers who managed to come up with this incredible branding and theme of the night as it is tremendously clever so they should be proud of this. Despite the importance of musical theatre in this night, it was made explicitly clear that this is not a musical theatre night. The show had a mixture of songs from popular shows that everyone would know to shows even the most theatre crazed people would struggle to name. Some people there would know all the musicals the songs are from as some would know none and so it was not a celebration of musical theatre rather the overall concept of the show being executed. Even those you had never heard of a musical would be able to enjoy the songs which made the show more accessible to a greater range of people.


The standard in this show was already incredibly high set from the opening number from Godspell and it seemed to just increase constantly as the show progressed. In a non-competitive way, each performer appeared to listen to the previous song and then try and top it which helped to keep the audience engaged. Every person was amazing and managed to play perfectly to their strength and so the person who chose the songs should be proud they were able to fit the songs to every singer so perfectly. This was like a west-end level show for the price of a local show, actually, this show was higher quality than many of the west-end professional shows I have seen. The talent was only aspirated as the focus was solely on the performer and their vocals. This show had no dancing, no props, no fancy lights and no MC instead the focus was just on the singers and so each person was able to fully showcase their ability and amazing talent. Even from a non-performance aspect, each individual was dressed in their smartest attire which helped elevate the event and made the audience feel as if they are witnessing an exclusive and high-calibre event (which they were.) I am not sure if this a part of a stated ‘uniform’ as such but if so, then this worked as it should have and gave the right effect to this effect while still making it visually accessible to everyone.


Ben-Joseph Smith, who is a recent graduate from the Welsh academy of music and drama, sang the opening solo of this show which was a beautiful city from the musical Godspell. This song was sung beautifully and he managed to blend the softness and intensity of the song in the most perfect way. Later on, we had a section from Les Mis where Ben sang a very intense version of Stars which again sounded incredible.


Simon Jennings, who is a pastor and worship leader based in Eden Church Penarth also graced the stage with his operatic and powerful voice. His Rendition of Close every door to me from Joseph and his amazing technicolour dream coat was incredibly moving and in fact, I was in tears by the end of it. Being able to create such strong feeling from this song is an incredible act and only goes to show Simon’s talent and ability. Simon also was involved in the Les Mis section were he sung Bring him Home which is perfectly in his skill set. His powerful voice worked perfectly within this song and he was able to easily achieve the range of this song. He also covered a song I didn’t know about titled ‘why God why’ from Miss Saigon which is a song that I now have to listen to more as it is so moving and relevant in today’s society.


The biggest highlight for me was the rendition of Gethsemane from Jesus Christ Superstar which was sung by Ashley. Ashley is known for recently playing Jesus Christ in Everyman Cardiff’s open-air festival which is regrettably missed this year. To cover such an iconic and difficult song is a very big task but Ashley seemed to not even flinch at this mammoth song. I have listened to a wide range of people covering this song from local people singing a somewhat shaky version to Ben Forester in the arena tour to John Legend in the most recent adaptation but this cover was the best I had even heard. He blew spots off even the most established and professional performers who had taken on this role and he received a standing ovation from the crowd which is even more astonishing as it was the end of act one. Ashley visibly poured everything into this performance which led to an out of this world cover. This song on its own was worth more than the price of admission and now I am devastated that I missed JCS over the summer.

The opening group number from Godspell was a little shaky as people did look visibly uncertain about entrances and parts etc but it was so bad that it affected the show. In my personal opinion, the solos in this show we’re better than those in groups or duets etc as it allowed each person to fully showcase their skills and so possibly next time this should be the focus. Also, there were a few tedious links within this show to tie the theme of the show and the actual songs sang such as certain songs from Les Mis as it contains the words ‘God’ in them but this is a tiny issue that can be sanded out possibly in the next show.

Overall this is a phenomenal concert that demonstrated the skills and talents of each performer which led to a fantastic evening of performances. In all honesty, I would probably prefer to return to this event over many of the professional shows I have seen. The show itself was well thought out and constructed which was the ‘icing’ on the already ‘incredible cake’ which helped with constancy from the audience. If this show returns with a similar cast I would strongly recommend you buy a ticket as it an evening of West-end quality singing for a fraction of the price. I would rate this show 5 out of 5 stars and would give it 6 out of 5 stars if this was possible.