Photo credits: Andrew AB

(5 / 5)

As Theatr Clwyd’s panto rock ‘n’ rolls in for another year, it’s a treat to be back in the Moondance auditorium, its surroundings now fully refurbished as planned. This time round, I even booked Bryn Williams’ new restaurant for pre-theatre dining- what a wonderful way to kick off proceedings. And despite this not being a food review- I can highly recommend it…oh yes, I can!

On entering the auditorium, the scene for this well-known fairytale is immediately set. The proscenium arch is adorned with warm, white lights and, as always, the show’s title is displayed proudly in the centre, this year decorated with snowflakes on a blue background, reminiscent of the ballgown we’re all familiar with from the classic story. These astute, clever touches are exactly what give Theatr Clwyd’s pantos their irresistible freshness.

As usual, Adrian Gee’s costume designs are superb. Particularly stand-out are Heathers inspired ugly sisters Samantha and Ella Hardup (Sam and Ella…. see what they did there?!)- sharp and stylish with wigs to make Marie Antoinette jealous! Celia Cruwys-Finnigan and Alice McKenna absolutely dazzle in these roles- their slick mannerisms, hilarious physicality, and standout vocals peak in a fabulous rendition of ROSÉ and Bruno Mars’ APT. (the infamous ‘kissy-face’ song!).

Also noteworthy is Theatr Clwyd’s commitment to sustainability- in this year’s production, Cinderella’s clothes are crafted primarily from recycled jeans! And the transformation from rags to riches is commendable- as Cinderella (perfectly portrayed by Rhianna Goodwin) twists and turns whilst the Fairy Godmother (multi-talented Georgina White) casts her spell, she reveals her gorgeous gown, appearing from the ruffles of her skirt- so clever, blink and you’d miss it! Phylip Harries once again shines as the Dame and with Steve Simmons as Dandini, we have the perfect double act- both performers driving the show with incredible energy and fizzling chemistry!

There is something for everyone when it comes to the music and choreography in this production. We’re treated to a wonderful version of Lorde’s Royals by the King and Queen, played beautifully by Joe Butcher and Chioma Uma, a powerhouse vocalist- Elliot Parchment-Morrison as Prince Charming gives a memorable performance of Every Little Thing She Does Is Magic and Steve Simmonds gets his ‘Kiss’ on as he decides he wants to Rock n Roll All Nite and ‘party every day’ at the Ball!

This production is superbly cast yet again. The standout performance for me this year, however, is Robert Wade as Buttons. He brings his character to life with boundless energy (bringing to mind Michael Crawford as Frank Spencer in Some Mothers Do ‘Ave ‘Em)! With cracking comic timing, brilliantly animated expressions and great vocals, Wade is the star on the top of the glittering Theatr Clwyd Christmas tree!

The cast enthrall us with their capabilities as performers; dancing in a full musical number one moment then rocking out on keyboards the next, tackling some tricky dialogue before heading off for a costume change- writer Christian Patterson even pays homage to this in the script this year; when Hettie asks Dandini where he’s been, he cleverly answers ‘I was playing the drums’! Assuming, of course, that this was in the script and not ad-libbed… you never can be sure!

Theatr Clwyd never fails to impress with their panto recipe- a huge dollop of talent (with no need for ‘celebrity’ names), a mix of wit, sincere emotion and jokes (which push the child-friendly boundaries!) and a wealth of clever designs from costumes, lighting, sets and special effects. If you want to start the festive season in the right way, head to Theatr Clwyd’s Ball- just make sure you’re home by midnight!

• Phylip Harries as Dame Hettie Hardup
• Rhianna Goodwin as Cinderella
• Celia Cruwys-Finnigan as Samantha Hardup
• Alice McKenna as Ella Hardup
• Steve Simmonds as Dandini
• Chioma Uma as Queen Beatrice
• Georgina White as Fairy Godmother
• Joe Butcher as King Benedict
• Elliot Parchment-Morrison as Prince Charming
• Robert Wade as Buttons
• The creative team behind the production includes:
• Christian Patterson (Writer)
• Daniel Lloyd (Director)
• Adrian Gee (Designer)
• Tayo Akinbode (Musical Director)
• Jess Williams (Choreographer)

Running time: Approximately 2 hours and 20 minutes (inc. interval)

Photo credit: Andrew AB

As schools across the UK — and Wales in particular — see a significant long-term decline in students taking A-level Drama, concerns are growing about the future of the performing arts pipeline. The number of A-level drama students across the UK has plummeted by over 50% since 2010

Organisations, such as the Campaign for the Arts, have expressed concern about this trend, highlighting the importance of creative skills for the growing creative industries sector in the UK. The Welsh Government has indicated an interest in redressing this balance through the new Curriculum for Wales, which places importance on creative and expressive arts, but the impact of this is still developing.

To explore what this means for young people, training providers, Welsh Actors and the wider creative sector, we spoke with Viv Goodman, lecturer on the AS and A Level Drama & Theatre Studies course across Coleg Gwent. Viv sheds light on she thinks might be driving the decline — and what might be done to reverse it

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Hi Viv great to catch up again after our previous interview which focused on your work with Welsh Playwrights and your students on in your previous role as a lecturer on the Extended Diploma in Performing Arts course at Coleg Gwent. Why do you think fewer young people in Wales are choosing Drama at A-level, and what misconceptions do you hear most often?

I think that prioritising and promotion of STEM subjects has certainly become detrimental to the Arts, it feels as if we’re back to the days of defending our place in the curriculum, whereas that hasn’t always been the case. I find this frustrating as I have worked with so many incredible creatives at Coleg Gwent over the years and the difference they have made to learners in terms of their skills, aspirations and personal development is immeasurable.

We are very strong here across vocational and A Level creative subjects (I have been lucky to teach in both areas) and it’s left me with enormous admiration for tutors in the areas of Performing Arts ,Music, Art, Photography, Media and Film. I’m also uncomfortable with the feeling that we are in competition with STEM subjects, when really, the breadth of subjects and the opportunities they all bring is surely the ultimate aim for education and employability. I think in terms of Drama that it’s left many comprehensive school timetables or been reduced, and so it is possibly not perceived as an option going forward. The A level course can be taken without having studied GCSE Drama and this is perhaps the message that needs to get out there now. 

Is the decline in A-level Drama having a visible impact on who enters performing arts training — in terms of skills, confidence, or diversity of backgrounds?

I think if it isn’t already having an impact then it certainly will do; I feel that there are potential industry professionals who are not getting early access to theatre and Drama and this embedding of the arts is crucial to it becoming familiar and comfortable for pupils; from that early stage, they are more likely to see the arts as viable career options. Equality and Diversity are thankfully being promoted in lots of ways, but in terms of real opportunities, we’re not actually creating enough of them. Early experiences of theatre will also, crucially, create the audiences of the future and we should also be thinking about that. 

How do you see the Welsh context specifically shaping this issue? Are there barriers or opportunities unique to Wales?

There are opportunities that are unique to Wales in terms of our place in TV and Film production in particular: it’s a real string to our bow that courses in Media, for example, use Welsh crime drama Hinterland/y gwyll as a case study.

I make a lot of connections to the Welsh theatre industry in my teaching , not only going to see productions, but also discussing the international success of some of our theatre pieces. Grav, created by Owen Thomas, Peter Doran, and actor Gareth John Bale, and first performed by the Torch is an excellent example. I have worked with the Grav team so much and used the play/production in a number of lessons, its a brilliant example of Welsh Theatre.

I think that Welsh theatre is becoming more confident and ambitious with the recent launch of the Welsh National Theatre and Fran Goodridge’s, Sherman Theatre, Artistic Director plans to connect the Sherman Theatre, Cardiff with The Royal Court, for example. My hope is that opportunities for future industry professionals will  grow from the impact of these changes.

What risks does this long-term decline pose for the future of the performing arts workforce in Wales — both onstage and backstage?

I think that we need to address the issue in education quite quickly and promote the fact that the creative industries are essential to the economy; I feel there is still a misconception that the arts are a luxury. Without training and opportunities for young people in theatre, film and tv the industries will struggle further in  future and I don’t think this is taken seriously enough at the moment.

What would you say to a student, teacher, or parent who believes Drama is ‘less valuable’ than other subjects?

I would say that any accredited qualification will have had to jump through hoops to attain the accreditation in the first place, so they are all viable from that point of view. There are so many reasons to study Drama other than wanting to enter the performing arts professionally: the transferable skills of team work, problem solving, working to group deadlines, communicating meaning through creative decisions are all essential in other professions. Every year I have A Level Drama learners who study the subject alongside the sciences and the experience equips them with excellent interpersonal skills that become evident when they present themselves to universities. Also, we’re in a place where mental health and well being are a significant issue for young people and the experience of Drama is enormously helpful for processing emotions and fostering a sense of belonging. 

What actions from policymakers or education leaders would make the biggest difference in reversing the decline?

From a UK and Wales wide perspective, I think we need to present STEAM rather than STEM as the tagline and go back to reinforcing the ‘broad and balanced’ approach towards education. As I mentioned earlier, I have now worked with vocational and A level teams across three sites of Coleg Gwent and the experience has opened my eyes to the expertise and inspiration that teachers offer learners across the curriculum. I really think that education leaders and policymakers need to promote all opportunities with equality if we are to create a workforce that is fully prepared in terms of skills and well being; that’s what makes people fit for work.

Mae pantomeim bwrlésg ar ei ffordd i Ganolfan Mileniwm Cymru dros gyfnod y Nadolig, gyda pherfformiadau gyda’r nos o 17 tan 20 Rhagfyr, a matinée ar Nos Galan.
Caiff cynulleidfaoedd brofi Nadolig chwareus gyda pherfformiadau pantomeim, gan gynnwys cân, drag, comedi, dawns, perfformiadau beiddgar, a bwrlésg hudolus.

Bydd y rhai sy’n dwlu ar bantomeim yn cael mwynhau eiliadau panto clasurol (o na, fyddan nhw ddim, o iawn, byddan nhw!) wrth brofi natur befriog, rywiol a gwirion cabaret.

Mae’r sioe newydd hon gan Glwb Cabaret Caerdydd yn cynnwys rhai o sêr cabaret mwyaf poblogaidd Cymru a thu hwnt – gyda sgript wreiddiol wedi’i hysgrifennu gan FooFoo LaBelle.

Bydd y digwyddiad yn tywys cynulleidfaoedd ar daith i gwrdd ag arwyr a dihirod ‘ffabiwlws’ byd y straeon tylwyth teg. Bydd gan bob un dalentau unigryw, o daro â chwip i ddawnsio ffan a phypedwaith. 

Enillodd y canwr, Wolfy, wobrau yn ddiweddar yng Ngŵyl Ymylol Caeredin, ac yn ymuno ag arweinydd y sioe fydd Ebony Silk, Sandy Sure, FooFoo LaBelle, Goldie Luxe, Lili Del Fflur, It’s Llywelyn, a Matt Hazzard.

Daw’r cwmni â pherfformwyr cabaret o fri cenedlaethol ynghyd wrth roi llwyfan i rai o berfformiadau mwyaf cyffrous Cymru. Bydd criw Clwb Cabaret Caerdydd hefyd yn ymuno â’r grŵp disglair.

Dros yr 16 mlynedd diwethaf, mae Clwb Cabaret Caerdydd, a reolir gan FooFoo LaBelle, wedi cynhyrchu cannoedd o sioeau poblogaidd ledled y brifddinas, gan roi Caerdydd ar y map fel cyrchfan am sioeau bwrlésg a chabaret.

Fel rhan o Glwb Cabaret Caerdydd, mae FooFoo yn cynnal dosbarthiadau bwrlésg i bobl o bob rhywedd, oedran (dros 18 oed) a math o gorff, i ddysgu dawnsio a pherfformio mewn sioeau fel hon.

Mae’r Pantomeim Bwrlésg Mawr yn berffaith i bobl sydd erioed wedi gweld bwrlésg, yn ogystal â selogion. Bydd y sioe wedi’i phlethu â naratif stori dylwyth teg, a bob pum munud, bydd cynulleidfaoedd yn cael gweld act newydd, a fydd yn aml yn syfrdanol, yn peri syndod neu’n ddwl, ond bob amser yn ddifyr!

“Mae bwrlésg a phantomeim ill dau yn cyfeirio’n ôl at ddyddiau’r vaudeville a’r neuadd gerdd, lle roedd pobl yn mynd i’r theatr am eu hadloniant. Y nod oedd cael amser da! Dwi wedi ceisio cofnodi’r llawenydd hwnnw yn y ‘Pantomeim Bwrlésg Mawr’ a rhoi’r sioe hon at ei gilydd i arddangos ehangder gwych y dalent sydd gan berfformwyr cabaret. Bu’n hwyl cymysgu dau fyd y pantomeim a chabaret ar gyfer llwyfan fodern, a dwi’n gobeithio y bydd cynulleidfaoedd yn llamu’n eiddgar i’r byd pefriog hwn gyda ni.”

Meddai’r cynhyrchydd a’r perfformiwr, FooFoo LaBelle.

Mae tocynnau’r Pantomeim Bwrlésg Mawr bellach ar werth yng Nghanolfan Mileniwm Cymru, ac maen nhw’n diflannu’n gyflym! Mae’r digwyddiad hwn yn addas i rai dros 18 oed ac mae’n berffaith i’r rhai sydd eisiau rhoi cynnig ar rywbeth gwahanol, neu grwpiau o ffrindiau sy’n chwilio am noson allan dros y Nadolig.

Gall y rhai sydd am roi cynnig ar fwrlésg cyn y sioe ymuno â FooFoo am weithdy rhad ac am ddim ddydd Sadwrn, 12 Rhagfyr, o 15:00 i 16:30, yn Ystafell Preseli yng Nghanolfan Mileniwm Cymru.

(5 / 5)

To Kill a Mockingbird by Harper Lee is a work of literature that needs no introduction. Upon its release in 1960, it became an instant hit, also winning the Pulitzer Prize a year after release. Based upon an event that Lee witnessed in her own home town in 1936, it has dark themes which has earned its ‘gothic’ genre, but deals with them with humour and warmth which has sealed its place in the hearts of readers worldwide.

Mix this with undeniable writing chops of screenwriter and playwright, Aaron Sorkin, known for his work on The West Wing, A Few Good Men and the recent revival of the musical, Camelot, he his recognised for his fast-paced dialogue and extended monologues; seemingly a perfect match for the lengthy legal monologues of To Kill a Mockingbird.

Sorkin’s approach to the text is refreshing and exciting; not just breaking, but ripping down the fourth wall with siblings Scout and Jem, along with their summertime friend, Dill, delivering (and sometimes arguing over) the key plot points directly to the audience. The court drama is broken up with events from the children’s summer and their escapades around the town; their perceptions, views of the world and development from children to adults is so well explored here and ensures that the production flows exceptionally well.

The set is beautifully done. One central backdrop transforms into the courtroom, the porch and internal of the Finch’s home, the houses and streets of the town. I particularly enjoyed the Finch’s house, complete with rocking chairs and bench. We could see the ‘inside’ of the house through the transparent walls of the front walls, which adds depth and pre-empts future character entrances and forthcoming scenes. The movement of the set is expertly woven into the storytelling and works really well. Lighting and sound is subtle but it’s the simplicity and absence of sound that adds so much to the story. The moments of silence are just as, or perhaps more poignant than when sound is present and it’s great to see that the sound designer is unafraid of silences.

I would be hard stretched to think of a better cast show that I’d seen, especially recently. The cast is exceptional, without exception. The children of the piece capture the essence of childhood on the cusp of adulthood with absolute ease. Anna Munden’s physicality as Scout Finch is wonderful. The awkwardness of a girl on the precipice of womanhood is so well executed that you forget that a grown woman is portraying her. Jem Finch, portrayed by Gabriel Scott is wonderful. Once again, you forget that this is an adult actor playing a child. Gabriel’s understanding of Jem’s innocence developing into a growing sense of the injustice of the world is perfectly captured here. Dylan Malyn makes his professional stage debut as Dill Harris. His performance is beautifully nuanced; fourth wall breaking humour tinged with the sadness and loss of the character which is never pastiche. Dill’s sheer joy for life in spite of all his hardships are captured to perfection by Dylan.

The whole ‘adult’ cast is perfectly cast. Aaron Shosanya builds with ease to the inevitable conclusion of the courtroom drama; his poise and delivery of lines perfectly capture the innocent man who knows he is a lamb to the slaughter. The Ewells are difficult parts to portray as they are so unlikeable but they are played brilliantly by Evie Hargreaves as Mayella and Oscar Pearce as Bob. They genuinely made my skin crawl and were instantly believable. Andrea Davy is a wonderful Calpurnia, with a much developed character from the book; Simon Hepworth broke my heart in his portrayal of the tragic ‘drunk,’ Link Deas. Although I cannot mention them all, every actor here is cast to perfection and is a joy to watch.

Richard Coyle delivers the role of Atticus Finch with a poise born of years’ experience. The internal struggle and dilemmas of Atticus, his role in bringing up his children, his insistence that they try and treat every person with respect and his eventual breakdown upon the final devastating courtroom blow; every nuance and every emotion are performed with an uncanny ability and I watched every moment with bated breath. His final courtroom speech was a particular favourite moment, but every moment is stunning.

I have seen so many productions this year but this play moved me beyond words. I implore you, go and see this production, if you have read the novel or not. It is a rare thing for a production to come together so beautifully and especially for an adaptation to deliver so truthfully to the original but to also to stand alone on its own merits. From the first curtain rise to the final, ‘all rise,’ this is a tour that should not be missed. You can find out more about the production and book tickets here

The Guardian only gave this production two stars.  I don’t approve of marking work – what do stars say? – but if I did I’d give it more.  It made for an interesting evening and I think most of the audience – the studio space at Theatr Clwyd was at least three-quarters full – enjoyed it.  At least, they all came back after the interval.

The thing is this is a first play.  You wouldn’t expect it to be problem-free and we have to have new work and theatres have to take a punt on new writers.  Theatr Clwyd is supportive of local work and I think everyone involved with the production can consider the effort they put in was worthwhile.  I didn’t squirm in my seat as I sometimes do watching new work.

The main limitation is the focus on a single individual who is not sufficiently complex to sustain a full-length play.  John Jones, thief, troublemaker, raconteur and escape artist is a kind of Falstaff figure, good to swell a scene or two, but not enough on his own to engage our entire attention for two hours plus.  He’s also a bit of an anachronism and the red of the title only refers to his hair, not to his politics.  The play needs a couple of other sizeable characters to stand alongside him and another storyline to throw his carryings on into relief.  Jones may be original and comic but the others he associates with or defies are stereotypes.  Because the story is pushed back to 1913, they do gain a bit more colour but all of them, from the landlady with a heart of gold, to the wicked estate owner, the hapless policeman and the honest son have appeared in a television series at some point (a bit like the cast themselves).

Still, Simon Holland Roberts almost carries the show with the energy and physicality he brings to Red Rogue Jones.  He is here, there and everywhere, disappearing and then reappearing when you least expect it, filling the auditorium with his booming declarations, his self-justifications and his jokes.  I thought he might fit in something by Sean O’Casey. 

And although the other people in the play really just come and go – we never find out what made the estate owner’s beautiful daughter fall in love with Jones’ poor son or why the landlord stayed with his unfaithful wife – the cast do their bit, with outbursts of anger, lively arguments and prolonged kisses, right from the start when everyone sings in the pub.

The story of John Johns, the arc of the play, is a series of escapades followed by periods of incarceration.  The details of these are often exaggerated but that’s acceptable.  The one thing we do see him do is haul a gigantic cauldron into the pub and although he hasn’t been to Ireland to get it, it symbolises his ambition and his energy. 

The cauldron also links to the First World War in a poetic way, since it is rumoured to have the power to bring dead men back to life.  It’s certainly large enough to fill with corpses and its metallic presence makes you think of armoured vehicles.

The trouble is the play is not set up to prefigure the conflict that will probably carry off the young men we see.  It’s not about that.  It’s about several different things – the indomitable Welsh spirit (perhaps), the value of storytelling and fibbing and the strength of relationships (love triumphs over everything) – but the various themes get out of hand, as does Jones himself.  In the end, there is only one way to bring it all to a close but the ending is not really in keeping with the overall tone.

I enjoyed the subplot of the oversized badger (a kind of animal representation of Jones) even if it didn’t advance the main story much.  The beating of the sack the badger is meant to be in looked like the struggle the playwright was having to bring all the material he had collected so assiduously – folk stories, local legends and the like – under control.

In Wales, this production will do well.  It would be interesting to see if it survived a tour elsewhere in the UK, where an audience would not be partisan.  For all its limitations, it’s of a professional standard and it makes you look forward to the next play Chris Ashworth-Bennion writes – and that Theatr Clwyd puts on.

[usr-5]

UNMISSABLE!

Stepping into the Watermill Theatre for Charley’s Aunt feels like entering a world where Victorian farce collides with 21st century sensibility. This new adaptation of Brandon Thomas’s 1892 comedy, directed by Sophie Drake, transforms the classic tale of disguise and mistaken identity into a vibrant, contemporary experience. The production radiates with humour, warmth, and an unexpected emotional depth that makes it refreshingly present, blending animated performances, modern music, and bold visual storytelling,
Rob Madge and Sophie Drake approach Charley’s Aunt with a goal: to breathe new life into an 1892 comedy and make it resonate with today’s audience. Through comical timing and musical interludes, they invite us to see cross-dressing not as a source of ridicule but as an act of self-expression and celebration. It is a fitting production for the Watermill Theatre, a company known for re-visioning classical works through inventive staging and an intimate, high-energy style that keeps its audiences fully engaged.

This new adaptation stands out by incorporating Rob Madge’s queer, theatrical perspective into the original structure, turning the play into both homage and commentary. In doing so, it aligns with a broader tradition of reinterpretations that use classical comedy to explore modern understandings of gender and performance.

Music underscores much of the action, sometimes ironically, sometimes atmospherically. Lauryn Redding’s composing and Russel Ditchfield’s sound design thread contemporary music through scene changes and moments of quick-witted inspiration, using sound as both rhythm and punchline. Alex Berry’s set and costume do an excellent job of tone-setting, the 19th century costumes are detailed and historically rooted. Kitty’s pale blue and yellow ruffled dress, Amy’s pink and green floral gown with a yellow bow, and Charley’s exaggerated scarlet bow tie all evoke the Victorian era’s charm.

The set is minimal and flexible; the use of the thrust stage and close audience proximity make the action immersive and engaging. Even the audience seated up on the balcony feel included in the chaos, creating an all-encompassing theatrical experience.

Babbs, the charismatic character at the heart of the adaptation, steals the show. Max Gill’s performance is nothing short of remarkable: flamboyant, physically expressive, and deeply human. Their portrayal celebrates queer identity with confidence and tenderness. It is both an enjoyable turn and a meaningful commentary on individuality. Babbs’s flamboyance is never empty spectacle, it is written and performed to suggest learning and acceptance.

The production delivers precisely what it sets cut to achieve: a sharp, high-spirited comedy with impeccable timing and visual flair. The physical performances are tightly choreographed, and the technical team uses music and lighting to accentuate moments of wit and surprise. What makes it truly impressive though, is its tonal balance. The humour lands effortlessly while quieter, more sincere moments are allowed to breathe. The modernisation never feels imposed; it grows naturally from the productions belief that performance itself can be an act of self-discovery. Critics have praised its approach as “bursting with energy” and “a fun, fresh, colourful glowup;” and it is easy to see why.

Those looking for a strictly period-perfect reimagining may find the contemporary style and musical composition to be a deviation from tradition. Yet, these choices feel intentional. The creative team clearly prioritise inclusivity, visibility, and emotional immediacy over strict historical accuracy.

Ultimately, this “Charley’s Aunt” is a success in both spirit and skill. Jonathan Case, Richard Earl, Elijah Ferreria, Max Gill, Mae Munuo, Yasemin Özdemir, Maggie Service and Benjamin Westerby make up a captivating ensemble, delivering performances that are dynamic and electric, while the atmosphere throughout the theatre is charged with exhilarating energy. The Watermill Theatre once again proves its strength as a producing theatre: crafting work that is entertaining, meaningful, and proudly alive for modern audiences.

The Watermill’s Charley Aunt is a candy-coloured farce with a queer heart: loud, lovely, and utterly alive.

It is a truth universally acknowledged that a theatre has to put bums on seats if it is to survive. What better source of material to use to achieve this goal than a book which has sold more than 20 million copies (Wikipedia) and which has been revived on TV? The only drawback is that Pride and Prejudice is a novel not a play. Adapting it means a six-hour reading experience has to be pruned back to provide two hours traffic on the stage. The difficulties have been confronted by an interesting (and presumably economic) collaboration between five regional theatres: Mold’s Theatr Clwyd, the Bolton Octagon, Keswick’s Theatre By The Lake, and the Stephen Joseph and Hull Truck Theatres. Their production has attracted good reviews and on a Wednesday press night at Theatr Clwyd the house was more than three quarters full and the best seats looked to be sold.

The audience enjoyed the show. They applauded loudly when Elizabeth Bennet kissed Darcy (did that happen in the book?) and they cheered when the couple were sprayed with water so that Darcy’s shirt could be dampened in reference to a scene in the TV series (not, I think, in the book). A number stood to applaud at the end, as if we were still in the party conference season.

I think the audience and the critics were right to applaud. The show is very funny. The cast, with their spot on timing and faultless attention to detail, perform like a dance band, making the absolute most of the material they have been given. They fill the stage even when only two characters are present, and they easily suggest both the crowded rooms at a ball and the palatial grounds of Darcy’s estate. There is a lot of physical theatre with Ben Fensome’s inspired interpretation of Mr Collins and Joanna Holden’s manic clowning as Mrs Bennet. Set against these two are secure performances from James Sheldon as Darcy – his feet remain stolidly rooted to the stage throughout the excitement – and Eve Pereira’s Mary, a study in straight-face absurdity. We also get a riff on Lady Bracknell in Jessica Ellis’ Lady Catherine de Bourgh (she avoids mentioning the handbag). Other members of the cast, like Rosa Hesmondhalgh as Elizabeth and Dyfrig Morris as Mr Bennet (and one suspects also as the permanently veiled Anne de Bourgh) hold everything together confidently. They maintain the realism of the story. Background music is provided on the harpsichord by Mary, and by other period instrument versions of ‘Will You Still Love Me Tomorrow?’ and ‘You’re So Vain’.

Nobody put a foot wrong. The only (small) detail that didn’t work dramatically was doubling Eve Pereira up as Mr Bingley, presumably to save employing another actor (one of the Bennet daughters was also cut). But, given that Bingley has the least interesting role in the production, the gender switch didn’t matter much.

Nonetheless, despite what the show achieved, it was entertainment rather than art. Quality, ingenious entertainment, requiring a high level of professionalism- it can’t have been easy for writer Kate Hamil to fashion a fast-moving play from a slow-burning novel and director Lotte Wakeham deserves her plaudits for getting the most out of her actors – but this show is fundamentally tongue-in-cheek. It stops short of sending the novel up but it misrepresents it. It draws on Oscar Wilde and Alan Aykbourne and it comes across as more Gilbert and Sullivan than Mozart. Brecht it is not. The humour in it is good-natured and well-meant but the laughter it generates is in the service of what is apparently not a serious story. This because the real facts which Jane Austen was so careful to include, have had to be skipped over. (Those reviewers who claim the show is faithful to the original should go back and reread it.)

Pride and Prejudice is a fairy story. Austen’s artistry consisted of connecting a popular genre to a contemporary reality so both our intelligence and our feelings can be engaged. Economics and the laws of inheritance feature in her novel as they represent the restrictions the Bennet sisters have to break free from – in a world where women had virtually no role to play in society if they didn’t become wives and mothers. The Bennet family lives comfortably, with servants and a carriage, on Mr Bennet’s unearned income (equivalent to £170,000 a year today) but Mrs Bennet is not mad to be obsessed about what will happen to her five daughters if and when her husband dies. Those of the girls who remain unmarried will become homeless and be reduced to the level of the labouring class. Their abilities on the harpsichord and their knowledge of foreign languages won’t help them. They are effectively good for nothing.

Austen’s sharp detailing picks out for us the misery faced by Elizabeth’s friend Charlotte Lucas, who is too insecure to resist Mr Collins’ blandishments and who faces a life with an egotistic eccentric dependent in turn on the whimsical patronage of an almighty snob. She also gives us Lydia Bennet’s elopement with Lieutenant Wickham. Lydia is only fifteen. The age of consent in 1800 was twelve but even two hundred years ago a relationship between a man and a young teenager would have raised eyebrows – as we see from Darcy’s treatment of Wickham. Wickham has already tried it on with his sister.

Any mention of paedophilia or any close consideration of economics or of a legal system preventing women from inheriting property, would unbalance a light-hearted piece of entertainment, so the production skirts these issues. It understates, for example, the social disaster the Bennet family face when Bingley appears to have jilted Jane and Lydia’s elopement has disgraced them.

But you can’t have everything. Like Mary Bennet, ‘I profess myself one of those who consider intervals of recreation and amusement as desirable for everybody.’ Until someone manages to turn work by Sally Rooney or Annie Ernaux into relevant modern comedy, we can go along with productions like that offered by this regional collaboration. Escapism is sometimes OK, and it puts bums on seats.

(4 / 5)

Prior to attending Middle Ground Theatre Company’s The Signalman at Theatr Clwyd I picked up a copy of Classic Ghost Stories at my local library and, by complete coincidence, the first offering was The Signalman by Charles Dickens. I decided to resist temptation and attend the production with no expectations (better than great expectations, pardon the pun!) I did, however, skim through and wrack my brains as to how this production was going to take place over 1 hour and 40 minutes, the story taking up a mere 16 pages of this collection.

What better time of year to witness this piece than during the lead up to Halloween- the atmosphere set immediately upon entering the auditorium; dark curtain down and eerie piano music playing. As the curtain rises, the music’s volume increases and we are greeted with a lowly, dark piece of railway line through a tunnel (via use of effective projections) and a signal box shaded in smog, kitted out with everything we might find in a signal box in 1880- bells, levers, flags, a couple of chairs, book shelves, a kettle. The set is static throughout with the addition of several impressive light and sound effects to portray night and day, trains rumbling by, night owls hooting, the wind howling through the trees. It’s all very Victorian, very Dickens!

Dickens always had an interest in the concept of ghosts (made no clearer than in one of his most well-known and loved works, A Christmas Carol, published many years before The Signalman). However, Dickens was also a passenger in the Staplehurst train crash of 1865 which, although he survived, left him with significant psychiatric injury. Perhaps then, this eerie tale, was his way of attempting to banish his own demons and examine the suffering caused by this tragic event. In using the railway as his setting, Dickens provides a backdrop which we can all relate to- although, individuals being able to cross the railway line with only a ‘mind the line’ warning beforehand is a somewhat insane concept in the modern age!

In brief, our signalman, brilliantly portrayed by Chris Walker, is experiencing ‘hauntings’ which he cannot explain and has come to tell of these happenings to a holidaymaker out walking in the area. The holidaymaker is somewhat of an ambiguous character. Is he really an innocent gentleman on holiday? Is he a journalist? An inspector? John Burton plays this character with great energy and authority, and we are left wondering what his purpose is here. It seems his friendliness causes the signalman to relax and talk freely about the ghostly visions- from visiting apparitions, books falling from shelves of their own accord, doors opening without a breeze, voices calling out. As an audience, we are also privy to these occurrences, leaving us feeling uneasy throughout- do we believe what we are seeing? Why are these unearthly incidents happening? Perhaps we now feel as our signalman feels.

Without giving too much of the story away, it appears that the signalman is experiencing fears of an impending disaster on this part of isolated line- not helped by the recollection of past events. The question is, is what happens next down to fate or is it down to these peculiar premonitions?

This is a magnificent re-telling of a lesser-known Dickens fable which builds a fantastically formidable atmosphere throughout, by way of character, set, costume, lighting, sound, and special effects. Having since read the original, it is clear there have been a few embellishments but, overall, the production stays true to the text and is a great, atmospheric period piece, perfect for a dark, winter’s evening.

The Signalman continues its UK Tour on November 4th at the Darlington Hippodrome and continues into 2026, finishing at the Wolverhampton Grand Theatre on March 28th. Head to the website for more information:

The Signalman | Middle Ground Theatre Company Ltd