It’s a great big festive, ‘How’s it going, alrigh’?’ from the annual Christmas pantomime at the New Theatre, Cardiff. Sleeping Beauty is packed full of inuendoes, fast paced slapstick, fabulous musical numbers and a fabulous, mostly returning cast who brought the house down with ease.
It’s the classic fairytale, but with plenty of Welsh flavour; Aurora has been cursed by the wicked, Carabosse, but not to fear, the Spirit of the Pantomime has protected her until the eve of her 21st birthday! When she pricks her finger on a spinning wheel, it’s up to Nurse Nelly, Muddles and the Spirit to rescue Prince Gethin (of Gabalfa, of course…) and return him to the castle in Cardiff so he can bestow true love’s kiss and awaken the princess! Will true love save the day? Will Aurora ever awaken? And will we all be going ‘alright!’ all the way home? Oh yes, we will!
It’s a spectacular affair, as we’ve all come to expect from the New Theatre pantomime; the set is beautifully done, I loved the slick lighting and sound, and the orchestra perform toe tapping numbers with ease, led by Musical Director, Michael Morwood. The special effects are definitely special; the ending of act one takes the audience’s breath away…all I’ll say is that it was definitely gravity defying for Muddles! The choreography by James Bennett is slick and delivered with much aplomb by the talented ensemble and director Matt Slack clearly has a flair for slapstick and comedy, there’s laughs and heart aplenty here. The script by Alan McHugh is delightfully naughty in places, with plenty of jokes for younger and older ears alike!
The all star cast is led by Gethin Jones who is delightful, with a heartfelt performance as Prince Gethin of Gabalfa. He is joined by Emma Kirk as Aurora, who delivers the role with huge enthusiasm and energy. Aurora is usually a smaller role in the pantomime, but Emma really makes her presence felt with great personality, immediately earning her place in the hearts of the audience. Owain Wyn Evans is a force to be reckoned with for Carabosse and delivers fast paced weather puns with ease. Jalisa Phoenix-Roberts is a delightfully evil, but likeable Carabosse, with vocals and sass to die for. Jack Ryan is instantly loveable as Muddles, often at the butt of many jokes and much slapstick. I particularly loved his interaction with Nurse Nelly in the ‘Wonder of You’ section, which was delivered exceptionally well. My personal favourite was Mike Doyle as the fantastically naughty Nurse Nelly. His speech delivered so many fast-paced innuendos, it was hard to keep up! His voice is excellent, and he holds the audience in the palm of his hand throughout the whole production.
All in all, it’s a slick, well-oiled pantomime, full of laughs aplenty, tight dance routines, toe tapping musical numbers and a great deal of heart. It’s guaranteed to have something for every member of your family and is a great night out over this Christmas period. It’s a spectacular show which needs to come out of your dreams and become a family tradition this Christmas time!
You can find out more about the production and book tickets here
Jack Frost is a brand new, family musical for the Cardiff Christmas Festival, which bursts onto the Spiegel Theatre Stage with boundless energy and fun. It’s a show that is great for all ages, but the magic will especially capture the imaginations of the youngest theatre goers, with a magical tale, larger than life characters and toe tapping musical numbers!
There’s no let-up in this high-octane production; I lost count of how many times Jack and Gwen Frost did laps around the theatre! The plot is an apt one for parents currently drowning in Christmas presents! The evil Kringle the Toy Tycoon is trying to steal Christmas and force parents around the world to buy his cheap plastic toys, which only last a day before breaking. To do so, he’s stolen the power behind the Northern Lights, the very thing which powers the reindeers to pull Santa’s sleigh! Enter the mischievous Jack Frost, joined by a cohort of colourful, magical friends, to thwart Kringle’s evil plans and bring back Christmas joy for all the children of the world!
The whole cast work exceptionally hard and give stellar performances all round. Logan Burrows is an instantly likeable Jack Frost; as charming and boyish as Peter Pan, with balletic grace and an instant rapport with the audience. James Rockey is malicious and spiteful as Kringle, and his song is delightfully evil. I adored the sassy Mrs Claus played by Kate Powell, especially her musical number, which brought the house down! Mia Jae plays a loveable, hilariously dry Gwen Frost; the delivery of her lines in a thick Cardiff accent brings lots of comic relief to the dramatic moments! Molly Mae Fisher multi roles and is a beautiful dancer, her pirouettes were to die for! Finally, Bryn the Bear is brought to life by David Morgan-Harding with voice by Mathew Preece. I must say, Bryn was a particular favourite of mine; a 6-foot, Welsh accented Polar Bear has got to be a highlight for anyone! I loved his dry humour, and I was very impressed with Bryn’s dancing ability!
The show is really immersive with the cast bounding amongst us all, engaging with audience members, and even taking the time to give high fives and hugs. There are some good moments for the adults in the audience with some knowing jokes in a script penned by Richard Tunley and there’s some lovely musical numbers, with music and lyrics by John Manders.
Although the set is simplistic, there’s some lovely moments, including some aerial work from Jack, soaring high above the stage, some great dance numbers which make the best use of the thrust stage, (choreographed by Holly Corsi) and some great use of the entire space which really makes the audience feel like they are a part of the magic.
If you want something to get the entire family into the Christmas spirit, from the very youngest to the vert oldest, this is a great option. There’s always a plethora of pantomimes available over the Christmas period so it was nice to see something a bit different; still full of pantomime charm, but with original songs and a plot that’s still full of fairytale charm but is a bit different from the usual Christmas theatre offering. Grab a ticket to help Jack Frost save Christmas, and you’ll leave feeling full of festive fun and cheer, whether you’re 6 or 106!
Mary Poppins makes a triumphant return to the Wales Millennium Centre, marking their first visit to Cardiff since the 2009 and 2016/2017 tours – and the wait has certainly been worth it. This production captures everything audiences love about the classic musical, while elevating it with bold design choices, clever staging, and exceptional performances. One of the standout qualities of this production is the striking contrast between the lighter, whimsical moments and the darker, more emotional undertones of the story.
The set design moves effortlessly from bright, colourful landscapes bursting with magic to shadowy, atmospheric scenes that carry real narrative weight. These transitions feel seamless, thanks to clever set changes that keep the story flowing with energy and precision.
The casting is uniformly excellent, but Stefanie Jones shines brightest. Her portrayal of Mary Poppins is, quite simply, practically perfect. She anchors the show with warmth, sharpness, and effortless charm.
The production also adds a delightful touch of audience participation – a spirited reprise of “Supercalifragilisticexpialidocious” immediately after the main scene, which brings an infectious burst of joy to the theatre. Visual surprises abound, including Punch the toy startlingly appearing above the house during “Playing the Game,” heightening the darker edge of the scene. In contrast, the ballet sequence featuring Neleus and the living statues is graceful and dreamlike, while “Step in Time” delivers tap-dancing brilliance, supported by fantastic choreography and thrilling acrobatics as Bert, played by Jack Chambers, scales the sides of the stage.
The star and laser effects that reach out over the audience during “Anything Can Happen,” creating a moment of pure wonder. And of course, Mary Poppins’ iconic flights – at the end of Act 1 and again at the finale — remain breath-taking theatrical magic.
From start to finish, the show is energetic, beautifully paced, and visually impressive. Every department contributes to its success: the cast, the production team, the creative team, and the musicians all deliver work of the highest calibre. This Mary Poppins isn’t just a return – it’s a soaring celebration of everything that makes musical theatre magical.
If you’re undecided on a last-minute treat or festive gift, consider giving yourself – and the whole family – the magic of Mary Poppins.
Performances run from December 3rd 2025 to January 10th 2026.
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!
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
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.”
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.
A Burlesque-Pantomime is coming to the Wales Millennium Centre this Christmas, with evening performances from 17-20 December and a matinée on New Year’s Eve. Audiences will experience frisky festivities with pantomime-themed acts including song, drag, comedy, dance, and daring acts as well as glamorous burlesque.
Pantomine fans will be treated to classic panto moments (oh no, they won’t, oh yes, they will!) whilst exploring the sparkling, sexy, and silly nature of cabaret.
This new show from Cardiff Cabaret Club features some of the hottest cabaret stars from Wales and beyond— with an original script written by creator FooFoo LaBelle.
The event takes audiences on a journey to meet fabulous fairy tale heroes and villains, each with unique talents from whip-cracking to fan-dancing and puppetry.
Singing host Wolfy recently won awards at Edinburgh Fringe, and is joined by an all-star cast including Ebony Silk, Sandy Sure, FooFoo LaBelle, Goldie Luxe, Lili Del Fflur, It’s Llywelyn and Matt Hazzard.
The company brings together nationally renowned cabaret performers whilst platforming some of Wales’ most exciting acts. The dazzling cast will be joined by the Cardiff Cabaret Club troupe.
Over the last 16 years, Cardiff Cabaret Club, run by FooFoo LaBelle, has produced hundreds of sold-out shows across the capital, putting Cardiff on the map as a destination for burlesque and cabaret.
As part of Cardiff Cabaret Club, FooFoo runs burlesque classes for people of all genders, ages (above 18), and body types to learn to dance and perform in shows such as this one.
The Big Burlesque Pantomime is perfect for people who have never seen burlesque as well as big-time fans. Interwoven with a fairy tale storyline, every five minutes audiences will be treated to a new act, often sensational, shocking, or silly, and always entertaining.
“Burlesque and pantomime both hark back to the days of vaudeville and music hall, where people went to the theatre as a main source of entertainment, the aim was to have a great time. I’ve tried to capture that raucous joy in the ‘The Big Burlesque Pantomime’ and put this cast together to showcase the brilliant breadth of talent cabaret performers have. It’s such fun to mix the two worlds of pantomime and cabaret back together for a modern stage, and I hope audiences will jump feet first into this glittering world with us.”
Said producer and performer FooFoo LaBelle
The Big Burlesque Pantomime is on sale now at the Wales Millennium Centre, with tickets selling fast – this event is suitable for those over the age of 18 and is perfect for those wanting to try something different or friend groups looking for a Christmas night out.
Those wanting to try their hand at burlesque ahead of the show can join FooFoo for a free workshop on Saturday, 12 December, from 15:00 to 16:30 in the Presili Room at the Wales Millennium Centre.
Adunia Gebru volunteers his time to support new audiences, in the role of Community Volunteer at Royal Welsh College of Music & Drama . In the article below he gives and overview of recent productions he has seen at the college to learn more about the live performance programme.
I had the wonderful opportunity to attend a performance of Hamlet at the Royal Welsh College of Music & Drama (RWCMD) in Cardiff — and it was nothing short of extraordinary.
From the very beginning, the production showcased the incredible talent and dedication of the students. The lighting, sound design, staging, and the performers’ deep understanding of Shakespeare’s text came together to create a powerful and immersive experience.
As this was my very first theatre performance in the UK, I was genuinely impressed, it was an unforgettable introduction to British theatre!
One of the standout performances for me was the actor who played Polonius. He brought humour, intelligence, and charisma to the stage, making every one of his scenes memorable. During the interval, I had a delightful conversation with the lady next to me; she shared how much she enjoyed the show and said she planned to return with friends.
Although I’ve tried reading Hamlet before, I often found it challenging. Seeing it performed live changed everything. The students communicated the story with clarity and emotion, simplifying complex moments without losing depth or meaning. It re-ignited my interest and appreciation for Shakespeare.
Overall, it was a truly inspiring evening. My heartfelt congratulations go to all the students and staff at RWCMD. Their hard work, creativity, and passion were evident in every moment of the performance.
Bravo to everyone involved — a remarkable achievement!
“I have also attended AmserJazzTime it turned out to be the perfect way to start the weekend. It’s a free weekly jazz club held every Friday, featuring two bands each night and showcasing some of Wales’s most exciting musicians.
I was also impressed by the cafeteria and the service we received. The place was welcoming and comfortable.
I really enjoyed the whole experience and would love more people to join us. If you’re looking for something relaxed, lively, and inspiring to end the week, come along every Friday during term time. . It’s completely free, and everyone is welcome!
Finally last week I attended a classical music evening that I will never forget. Sinfonia Cymru performed together with some truly special artists: Catrin Finch, Patrick Rimes, Hanan Issa, and the wonderful Only Boys Aloud choir.
Catrin Finch is one of the world’s greatest harp players, and hearing her play live felt like listening to pure magic. Patrick Rimes is a violin player, musician, composer, arranger, and educator, and his music brought so much life and colour to the night. Hanan Issa, a writer and poetry creator, shared her beautiful words with the audience, and her voice added a soft, poetic light to the whole performance. And of course, the talented Sinfonia Cymru players carried every note with skill and emotion.
When I walked into the auditorium, I felt a warm and excited atmosphere. The gentle lights, the clear sound, and the quiet whispers of the audience made the room feel full of hope. As soon as the music began, the rhythm, melody, and harmony touched my heart and took me on a deep journey. Sometimes I closed my eyes just to feel it even more.
The orchestra played with so much heart. The choir sang with strength and joy. The poems, the harp, the violin, and the orchestra all came together like one big, beautiful story. It was one of the most precious evenings I have had in Wales.
Now, as the year is ending and we get ready for Christmas and the New Year, RWCMD has many wonderful events prepared. If you love music, or if you want to try something new, I think you will enjoy everything they offer.
This night of music was truly magical for me, and I will remember it for a very long time!
You can find out more about live performances at RWCMD here
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.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(4 / 5)
(5 / 5)
