Having had no idea of what to expect upon taking my seat in the New Theatre, I can happily confirm that ‘…Earnest?’ is one of the maddest, most exhilarating, hilarious pieces of theatre I have seen in a while. ‘The Importance of Being Earnest’ is turning 130 this year; after being encouraged to sing happy birthday…to the play…we are launched into our evening. Anyone seeing ‘…Earnest?’ should take on board what Wilde himself once said, ‘we should treat all the trivial things of life very seriously, and all the serious things of life with sincere and studied triviality.’
What happens when your lead actor fails to show up? Well, in the case of ‘…Earnest?,’ they turn to the only place they can think of…the audience. The director, Simon takes to the stage valiantly and tries to pluck the next Olivier from the crowd as, the show must go on. Our evening was fronted by unsuspecting Chris, a data analyst who may have picked a seat slightly too close to the stage… From there, things just continue to descend into abject chaos, with the actress playing Cecily disappearing off to cover for the lead skater on ‘Harry Potter…On Ice’ and more and more audience members are plucked from obscurity to stardom as the show becomes more and more barking mad.
What is truly impressive is the sheer skill of the actors involved here. Their improvisation and ability to think on their feet is excellent. The show must never look the same from night to night and yet the cast never falter; their responses are witty and immediate, their ability to move around the hapless audience members joining them on stage creates such hilarity, especially as the props keep moving, Jack Daniels gets added to glasses instead of ‘stage whiskey’ and chaos unfolds in front of us.
The cast are excellent; Guido Garcia Lueches as Terry/Algernon and Rhys Tees as Graham/Lane open the show as we are launched into our production of ‘The Importance of Being Earnest.’ Their flamboyant blocking and over the top delivery is particularly satisfying for anyone involved in, or having seen a slightly hammy community production. When Earnest does not appear, their panic is palpable; Terry is unable to change any of his blocking and Graham starts suffering from props inevitably being in the wrong place at the wrong time. Josh Haberfield enters from the audience as our hapless director, Simon Slough, who comes up with a solution; an audience member can help, script in hand, to perform the show. We are also joined by Ben Mann as Josh, our techie, who’s just trying to be useful but with limited, screamed instructions he’s finding it a bit tricky…
These opening scenes are so important in setting up the action and the expectations of the piece. The cast’s interactions with each other and the audience members are genuinely funny and topical. I had no idea what to expect from the show and I’m pleased to report it is riotous. Trynity Silk as Jennifer/Gwendolen and Judith Amsenga as Eleanor/Lady Bracknell then join us, and the anarchy continues. We are joined on stage but a very ‘feminine’ Cecily in a resplendent pink frock, we have a sword fight with one sword, a drunken Gwendolen becoming more and more undressed and Lady Bracknell losing her voice. My personal favourite part was the explanation of Earnest being found in a train station in a handbag (not Victoria Station as originally intended but Severn Tunnel Junction for our performance), performed entirely in interpretive, physical dance with Graham Tees bounding across the stage with sheer joy and abandon; it sums up a perfectly crazy evening.
Say It Again, Sorry? have truly brought an experience to the stage, like nothing I’ve ever seen before. The sheer talent of the writers and the actors involved to basically perform a different show every evening based on what their brand-new stars might (or might not) say had me holding my breath in anticipation. Even if you’re not familiar with the original Oscar Wilde play, I implore you to go and see this (again and again, it’ll be different every time!) as it is a pure tonic and highly entertaining. I really cannot wait to see what the team behind Say it Again, Sorry? will do next; their refreshing take on theatre is definitely something I will be following, in ‘earnest’ so to speak!
Taking Flight Theatre Company is delighted to have been honoured with the inaugural Lifetime Impact Award at the Get the Chance Cultural Impact Awards 2025 last month, supported by Tempo Time Credits, Ffilm Cymru Wales and Porters Cardiff.
Taking Flight makes bold, unusual theatre productions with Deaf, disabled, neurodivergent and non-disabled performers. Their work tours Wales and beyond. Alongside touring work, they nurture the next generation of disabled talent, both on stage & behind the scenes. They do this through running inclusive professional training courses & mentoring schemes for people who identify as Deaf or disabled & are looking for the next step into a career in theatre, or to develop existing skills & build confidence.
With approaching 17 years’ experience in creating accessible theatre, they have become the “go to” organisation in Wales for advice, information or inspiration on integrating access & working with inclusive casts.
Artistic Director Elise Davison said:
“We are absolutely thrilled to have been given this lovely award. We were rather overwhelmed, and very happy to have our work of the past 17 years or so recognised in this way. We’d like to thank everyone who has made this journey possible and welcome the steps that the industry in Wales is making towards becoming more inclusive for audiences and professionals alike. Let’s keep shouting about access, eh? It really does make the work better for everyone.”
Guy O’Donnell, director of Get the Chance said:
“Taking Flight won the Get the Chance, Lifetime Impact Award because of the ongoing positive change they have led on for the cultural sector in Wales.
They featured strongly in many of the Categories for this year’s awards, demonstrating their reach amongst the arts sector and the public.”
Sara Beer, director of change at Craidd is also a longstanding member of Taking Flight’s board of trustees. Sara was invited to present the award to the company by Get the Chance, and said:
“Taking Flight creates excellent, accessible theatre and the impact they have had on Deaf, disabled and neurodivergent creatives has been huge, providing brilliant opportunities and raising awareness of the talent that for so long has been overlooked.
The company also provides high quality training for theatre creatives across Wales. This means that there are now many more audio describers available to companies who work in both English and Welsh and a pool of creative enablers to support freelancers and companies to provide inclusive, accessible environments for everyone.
It is remarkable that the majority of their work has been created on project funding and their determination and belief in making important accessible theatre of the highest quality. Now that they are revenue-funded by Arts Council Wales I’m sure there are going to be many exciting times ahead”.
The award comes at an exciting time for Taking Flight as they enter the production phase of their latest show, a fully accessible BSL/English production entitled Martha that will open at Cardiff’s Sherman Theatre this May. Martha is set in the near future, in a world where sign language has been banned and Deaf culture driven underground – a cautionary cabaret about the dangers of oppression and totalitarianism. More information can be found here:
Arthur Miller is often declared the greatest American Playwright of the last century. Though I might declare The Crucible his finest work, most school teens and theatre bugs will no doubt learn toward Death of a Salesman.
This is a raging, shoulder shaking, alarm call for the so called ‘American Dream’. Did it ever really exist? And for whom, exactly? Recent American politics would mirror these sour ideas tenfold. Willy Loman is the salesman in question, a deeply exhausted man of business who drives hundreds of miles for his work. A job with little gratis nor promise of a promotion, he like many before and after remain under the thumb of ‘the man’. With two grown up sons and a wife, everything appears stable, till the emergence of attempted suicide, rising debt and matrimonial troubles.
In this production from Trafalgar Theatre Productions and Raw Material, I’m sad to say I was left rather cold. There appears to be several things in need of tweaking. Dare I say, the actors could have been mic’d up higher, the musicians (who like the actors not in their scenes) watch from the sides, could have been utilised much more than their fleeting folk and bluesy bars. The American accents are also tricky, proven by poor to passable attempts from the company. The whole show simply should have had more electricity.
The set is average to fair: planks of wood suggest the Loman garden, a screen of a tree towers above and some props offer the home interiors itself. Its tourable, at least. David Hayman as Loman, has good tics and knows the piece well, but it still doesn’t work as a lead. I think it’s the quietness and the lack of real vibrancy. As Happy and Biff, Daniel Cahil and Michael Wallace are the backbone of the show. The constant seeking of approval from their father is paramount, getting the right job and even a declaration of a marriage proposal is never acknowledged. They do what they can in the heady roles and almost get away with it. Perhaps the strongest casting choices in this.
The weary wife Linda played by Beth Marshall, is a hard role to crack. She must support her husband, constantly remind her children of their fathers major issues, as well as keep the house going. Marshal plays the tired but bright role well enough, it’s a fine example of a great female character being behind a typical man. Stuart Ennis is Willy’s brother Ben, looking like composer Charles Ives, a distinguished gentleman who fared well in business. We only see him in some of Willy’s multiple flashbacks, Ben is only ever there to boast and remind Willy of his lack of luck in life. Ennis played this with fun and pomp, the only old world fibre to the show, originally set in the late 1940s. Other cast members are by the numbers, though some moments of humour flickered, some tensions almost palpable.
The winners of the BBC Audio Drama Award 2025 were announced in a live ceremony from the Radio Theatre in Broadcasting House last night. The Best Original Single Drama Category winner was: The Invitation, written by Royal Welsh College of Music and Drama, Stage Management, Graduate, Katherine Chandler, and produced by John Norton, for BBC Audio Wales & West.
The Comedy drama stars Welsh actors, Siwan Morris and Kimberley Nixon.
“When her eight-year-old daughter is the only one in the class who doesn’t get a party invitation, Lizzie challenges the birthday girl’s mum, Jo. As their two world views collide, all hell breaks loose. What are the rules here?”
The full cast includes
Jo – Siwan Morris Lizzie – Kimberley Nixon Huw – Tomos Eames Ritchie Tyne- Nathan Sussex Mrs Wilson – Zoe Davies Margaret – Hannah McPake The Postman – Anthony Corria Micha – Joséphine López-Norton Ellie – Raphaëlle López-Norton
Production Coordinator: Eleri McAuliffe Sound Design: Catherine Robinson and Nigel Lewis Producer: John Norton
The Best Actress Category was won by Royal Welsh College of Music and Drama, Acting graduate, Cecilia Appiah for her role in Oleanna, directed by Gary Brown for BBC Studios Audio Salford
You can find out more about the BBC Audio Drama Awards 2025, in the article below from the BBC Media Centre
BBC Audio Drama Award winners announced along with plans for new monthly 90-minute play on BBC Radio 4
The BBC has revealed the winners of the 2025 Audio Drama Awards, celebrating the exceptional talent and creativity in the field of audio drama and comedy, in a ceremony tonight (30th March) hosted by actor and comedian Miles Jupp at the iconic Radio Theatre in Broadcasting House.
The BBC’s Chief Content Officer, Charlotte Moore, gave a speech emphasising the BBC’s commitment to audio drama and announced plans to launch a monthly 90-minute play slot starting later in the spring on BBC Radio 4, which will focus on new dramas and original adaptations of classic stage plays. These will sit alongside the very best of the recent archive, allowing new and existing listeners the opportunity for a deep dive into this beloved genre.
“For over 100 years, the BBC has been a pioneer in audio drama, and today we remain the largest commissioner of audio drama globally – and our commitment to new writing remains unparalleled. In the last year alone we’ve featured the work of 30 new writers and broadcast 118 new titles, ranging from single dramas to 10-part series,” said Moore. “While we celebrate our rich heritage and legacy, we must also embrace the evolving digital audio landscape to ensure the continued success of audio drama and its home on BBC Sounds. We will persist in championing new writing and talent, providing opportunities for emerging voices as well as established names across our networks, to deliver the very best to our listeners. I’m thrilled that the new 90-minute play slot on Radio 4 will bring the power of longform audio drama to many millions more listeners.”
The ceremony also included a posthumous Outstanding Contribution award for much-missed producer Bill Dare, given in recognition of his huge influence on comedy, and particularly his contribution to audio comedy on BBC Radio 4. Dare, who tragically passed away earlier this month following an accident overseas, leaves behind a legacy of award-winning satirical programmes for radio and TV, including Dead Ringers, which is set to mark its 25th anniversary on Radio 4 later this year, Spitting Image, and recent Radio 4 comedy The Island starring Stephen Mangan.
Julia McKenzie, BBC Radio 4’s Commissioner for Comedy, said, “Bill Dare’s contribution to comedy is unparalleled. He brought joy to so many listeners and his unique talent is hugely missed. This award is a tribute to his legendary status and the immense impact he had on comedy, at BBC Radio 4 and beyond.”
Moore also presented an Outstanding Contribution award to the podcast drama Central Intelligence, written by Greg Haddrick, produced by John Scott Dryden and Emma Hearn, and executive-produced by Howard Stringer and Jeremy Fox for Goldhawk Productions. The drama was recognised for the sheer scale of its ambition and its success with digital listeners, with over 2.5 million plays. Kim Cattrall, who stars in the series as narrator Eloise Page, was present to celebrate the series’ win. Central Intelligence has been a smash hit with listeners on BBC Sounds and is part of the Limelight series of podcast dramas, which showcases fresh approaches to serialized storytelling from the very best new and established writing, acting, and production talents, and consistently ranks in the top ten most-listened-to podcasts on BBC Sounds. It returns for a second series on 20th June.
Also amongst the winners was BAFTA and Emmy-award winner Sean Bean, who received the Best Actor award for his role in Antigone by Jean Anouilh. Anouilh’s powerful reworking of the classic Greek play, which was an instant success when first staged in Paris in 1944, showcased Bean’s exceptional talent for audio acting. Cecilia Appiah won Best Actress for her portrayal of Carol in Oleanna, David Mamet’s most controversial play. Oleanna is an incendiary exploration of gender, education, class, power, and perception, which divided audiences but captured the zeitgeist. Appiah’s compelling performance was a hit with listeners and praised by the judges.
Alison Hindell, Radio 4’s Commissioner for Drama and Fiction, said, “Tonight we celebrate the huge variety of audio drama as a genre – from gripping new podcasts to classic plays – and the people who work so hard to bring brilliant audio drama to the BBC’s audiences. The future of audio drama looks bright, with listeners’ interest in the genre continuing to grow, and the BBC is here to champion it all the way.”
Full List of Winners of the 2025 Audio Drama Awards:
• Best Original Single Drama: The Invitation by Katherine Chandler, produced by John Norton, for BBC Audio Wales & West. Special commendation for Nearly Light by Kit Withington, produced by Jelena Budimir at Naked Productions for BBC Radio 4.
• Best Original Series or Serial: Life Lines by Al Smith, produced by Sally Avens at BBC Studios Audio London for BBC Radio 4.
• Best Adaptation: Tam O’Shanter by Robert Burns, adapted by Gary McNair, produced by Kirsty Williams for BBC Audio Scotland. Special commendation for Love and Information by Caryl Churchill, produced by Mary Peate and Jessica Dromgoole at Hooley Productions for BBC Radio 4.
• Best Actor: Sean Bean for his role in Antigone, directed by Pauline Harris at BBC Studios Audio London for BBC Radio 3.
• Best Actress: Cecilia Appiah for her role in Oleanna, directed by Gary Brown for BBC Studios Audio Salford. Special commendations for Michelle Fairley in Hello, I Appear to Have Killed My Husband, directed by Kirsty Williams for BBC Audio Scotland, and Kate O’Flynn in Spores, directed by Nicolas Jackson at Afonica for BBC Radio 3.
• Best Comedy Performance: Rosie Cavaliero in The Train at Platform 4, produced by James Robinson at BBC Studios Audio for BBC Radio 4.
• The Marc Beeby Award for Best Debut Performance: Mae Munuo in Tribe of Two, directed by Jesse Fox at Afonica for BBC Radio 4.
• Best Sitcom or Comedy Drama: Rum Punch by Travis Jay, produced by Daisy Knight at Avalon for BBC Radio 4.
• Best Stand Up or Sketch Comedy: Janey Godley: the C Bomb Series 2 by Janey Godley with Ashley Storrie, produced by Richard Melvin at Dabster Productions for BBC Radio 4. Special commendation for Munya Chawawa’s Election Doom Scroll by Munya Chawawa, Matthew Crosby, James Farmer, and Joe McArdle, produced by Jo Maney and Ben Wicks at Expectation TV for BBC Radio 4.
• Best Use of Sound: Restless Dreams, sound by Eloise Whitmore, produced by Eloise Whitmore and Polly Thomas at Naked Productions for BBC Radio 4.
• Best Podcast Audio Drama: The Skies Are Watching, written and produced by Jon Frechette and Todd Luoto at Goldhawk Productions for BBC Radio 4. Special commendation for Central Intelligence by Greg Haddrick, produced by John Scott Dryden and Emma Hearn at Goldhawk Productions, and executive-produced by Howard Stringer and Jeremy Fox, for BBC Radio 4. Central Intelligence also received an Outstanding Contribution Award.
• Best European Drama: The Fall of Lapinville by Benjamin Abitan, produced by Chloé Asous-Plunian for Arte Radio, France.
• Imison Award: Tether by Isley Lynn, produced by Fay Lomas at BBC Audio Wales and West for BBC Radio 4.
• Tinniswood Award: Man Friday by Edson Burton, produced by Mary Ward-Lowery at BBC Audio Wales and West for BBC Radio 4.
About the BBC Audio Drama Awards:
The BBC Audio Drama Awards celebrate the passionate and dedicated work of professionals who bring this artform to listeners – from actors to writers, producers and sound designers.
Previous winners include Rosamund Pike, Susan Wokoma, Miriam Margolyes, Juliet Aubrey, Bridget Christie, Edmund Davies, Phil Wang, Danny Sapani, John Hurt and many more.
The BBC once again joined with the Society of Authors and Writers’ Guild of Great Britain to present the two annual writing awards run by these organisations, the Imison Award (for best script by a writer new to audio) and the Tinniswood Award (for the best audio script of the year).
The BBC has compiled a timeline of key audio drama moments from the past century, which can be found here
For anyone looking for a way to escape the horrors of the 2025 news cycle, may I recommend instead a little excursion to the prairies and saloon bar of Deadwood City in Goldrush-era USA?
The 2025 touring production tweaks the 1961 stage play, based on the 1953 Hollywood smash musical movie featuring the iconic Doris Day and gives it a little bit of a “modern” touch. You may have memories watching Calamity during holidays, or maybe on a Sunday with your grandparents…you may not know *how* you know the “Whip-crack-away” song or the tune to “Just Blew in from the Windy City”, but even if you don’t remember the movie exactly, the 2025 musical will draw you in for its spectacle. From its cowboys and hoe-downs, to the the Americana bluegrass musicians and the vocal powerhouse that is Carrie Hope Fletcher, there are plenty of story, song and dance nuggets to keep you satiated.
We meet Calamity, Wild Bill Hickock and a rag-tag ensemble of Deadwood City saloon-goers at the Watermill Theatre, HQ for the production’s story where Director/Choreographer Nick Winston and Director Nikolai Foster first imagined the world of Calamity in 2014. For this production, the production team have added a few extra songs and lost others synonymous with problematic representation or iconography.
The production does well to navigate some of the awkwardness and “cringe” (to quote my daughter’s favourite phrase) of songs written in an era where men literally imagined the idea, wrote the story, the theme tunes and then staged and directed the show featuring predominantly white men. It’s a bit like watching Little House on the Prairie – it’s almost an absurd parody of the true harshnesses, shocking injustices and brutality of frontier life, but it sure was nice escaping to a fantasy for a few hours. I even enjoyed a song sung by Katie Brown (Seren Sandham-Davies) and Calamity about “A woman’s touch”, where they spruced up the homestead cabin with some tablecloths, patchwork curtains and dried flowers. No trad-wives here though, thankfully – Calamity is whip-smart and there is plenty of sass and energy from Vinny Coyle (playing Wild Bill) and the wonderful Samuel Holmes playing Francis Fryer. Holmes’ comedy chops and comic physicality were a real highlight throughout.
There were some humorous queer-coded moments which the producers could have leaned into a little more during the scenes where Katie Brown moves in and “runs away” with Calamity Jane. It’s a little “nudge-nudge, wink-wink”, but at least this production has a little more diversity than the man-fest that was the original film. The musicians and ensemble cast mingled about freely providing pace and colour to the script, which at times fell a little flat here and there. Being set in the Wild West with a gaggle of blow-ins, the accents did wander a little “off-piste” at times, but anyone whose watched a production of Guys and Dolls will be familiar with accents oscillating between Noo Yoik and Surrey. It’s all good, clean fun and the cast were great sports and had a great rapport. Huge respect (or should I say Yee-Hawwww!) to Richard Lock for his bow-legged shuffling and toothless gurning as “Rattlesnake” – he really looked the part!
Centering the entirety of the production in the same Saloon spot may have made sense, but I did find myself wanting to see more more travel, movement and visual interest in the wider set, which could perhaps provide more of a sense of place of the vast rolling plains and prairies where Calamity roamed. Her stagecoach excursions are brought to life by straddling the saloon pianos and chairs, spinning umbrellas, wheels and the two tapping coconut shells for horses hooves. It’s a nostalgic, good time romp through some of Hollywood’s most enduring musical classics and Carrie Hope Fletcher’s voice is truly beautiful. The production finished with an audience rendition of the Black Hills of Dekota, a hoedown reprise and joyous soft-shoe shuffling, spins (and – spoiler alert – there’s a double wedding). Well it was written in 1953 don’t forget…
There’s plenty of life in Calamity Jane and her musical / film iterations – It would be wonderful to see a Hollywood biopic of the real Calamity. Her letters and diary to her and Wild Bill’s daughter Janey in the 1800s were found to contain a true glimpse of her life and character. The songs only tell part of the story. But in the meantime, the stagecoach, Wild Bill and Calam will be in Cardiff til they “Whipcrack Away” on the March 15th. So if you’re fancying a hoe-down and a Sarsparilla, with the gang you’d better saddle up….
Venue Cymru, Llandudno, March 3rd – 8th 2025 and touring
(4.5 / 5)
Howard Panter for Trafalgar Theatre Productions, Mallory Factor for Hill Street Productions and Rupert Gavin
The Rocky Horror Show has come a long way since it debuted upstairs in the Royal Court theatre in a 10.30 showing in an auditorium seating 60 people. What is it about the show that gives it a lasting appeal? Certainly there is a prevailing sense of fun throughout and the music is upbeat and energetic with the signature song, Time Warp having a timeless appeal. However it is the subversive nature of the story that has seen the show gain its cult following.
The storyline in one sense is a sideline. It was never meant to be profound, rather it was a spoof on a long line of 1950’s B-movies that had a sci-fi theme. A sweet couple having just got engaged break down in their car and seek help from Frank n Furters castle in the distance. There they enter an alternative reality that shakes their perception of normality to the core. Of course some of the inhabitants are aliens who take revenge on Frank n Furter who is guilty of having a profligate lifestyle and betraying some of his loyal servants.
The cast were well drilled, enthusiastic and energetic. Adam Strong as Frank n Furter was suitably commanding and was ably supported by the sinister Job Greuter as Riff Raff and the ebullient Jayme-Lee Zanoncelli as Columbia. The choreography was slick and well rehearsed while the set was simple, adaptable and effective.
The show is narrated by Joe McFadden who was excellent in dealing with the interruptions from the audience. These have obviously become part of the tradition of the show as they were not only tolerated but expected. Some of these were funny, sometimes the interruptions were intrusive. Either way, McFadden handled them well
First produced in 1973, the play picks up on the attitudes that exploded in Britain with the advent of the permissive society. This was the era of glam rock where people played around with traditional male and female norms and were less afraid of being openly indulgent in their sexual appetites. To quote, ‘Give yourself over to absolute pleasure’. Can people really do that without consequence?
Writer Richard O’Brien never expected it to last but shortly after it bombed on Broadway for not being high brow enough, he heard that it was getting cult following on campuses across the USA where students were attending a performance in costume. A new trend was formed that allowed those of us who were normally constrained by their career driven, family orientated lifestyles could throw off those shackles and go wild for the evening.
Now that the show is over 50 years old, does it retain its cutting edge? It is still subversive but has to be slightly more explicit to give that shock factor. There is also a disconnect. Having started off with such humble origins, the glitz and glamour of a West End style show seems slightly out of place. However, that does not detract from what remains a fun filled, light hearted and still slightly shocking show.
An Inspector Calls is a staple of English Literature GCSE; we’ve all grown up knowing the twists and turns of J.B Priestley’s classic play. I remember vividly studying it and even playing Shiela Birling in an amateur production, so I know the play well. This is a production that rips up the basic setting of the upper-class drawing room and engagement party that Inspector Goole intrudes upon, with unwelcome news. This is a moody, smoky, gritty production that really emphasises the themes of society, class, gender and generational divide.
The set is extremely impressive. I loved the ‘doll’s house’ Birling household, with them being closeted away inside away from the audience’s view as the curtain lifts. It stands on stilts above the street below, keeping the Birlings and their perfect world away from the gutter, out of the view of the lower end of society. The front of the house opens up to begin their descent, swinging open to reveal their garish opulence, which stands starkly against the grey drabness of the street below. The Inspector arrives and bridges the gap, slamming steps against their home to be able to force them to descend to the streets below. The house plays an important part later on too, which I won’t spoil, but this further visceral vision of the collapse of this affluent family is excellent and drew gasps from the audience.
I also loved the costuming, with each character revealing their own unravelling. Sheila becomes more and more undressed as the show progresses, with her beautiful white gown having less and less fabric as action unfolds. Gloves are removed, shoulders taken off, leaving bare shoulders and arms. The other cast are disrobed in similar ways. Eric especially is dishevelled and unkempt upon his return; Mrs Birling’s perfect hair cascades messily down her face.
Tim Treloar as Inspector Goole walks through the darkness of the auditorium to the stage, his figure standing tall and forlorn in the single ray of the streetlamp. We have a Welsh Inspector here, a fact made altogether more impressive by the fact that this is a change specifically for the Wales Millennium Centre residency. The accent adds an extra element to the performance; ensuring that Goole stands apart from the Birlings, not quite fitting in anywhere to the fictional industrial town of Brumley, England. His performance was not what I was expecting at all; this Inspector is sometimes funny, passionate, clearly passionately involved in the tale of Eva Smith and her untimely demise. It makes him more human than previous iterations I have seen; his humour breaking the sometimes almost unbearable tension of the scenes and, of course, immediately gains him the empathy and support of this Cardiff crowd!
An Inspector Calls 2024. Tim Treloar (Inspector Goole) and Alice Darling (Edna). Photo by Mark Douet
He is joined by an excellent cast; Jackie Morrison owning every inch of the stage in her opulent gown as Mrs Birling; Philip Stewart is our understudy Mr Birling and brings the upper-class bluster and self-importance of Birling in spades. The younger side of the family are played to great effect by Leona Allen as Sheila Birling and George Rowlands as Eric Birling. Tom Chapman completes this ensemble as Gerald Croft, bridging that gap between the older and younger generations with ease. I also thoroughly enjoyed the ever-present Edna played by Alice Darling, her fair skin and quiet demeanour constantly reminding us of the lost Eva Smith and being an unending reminder of the effects that this family have had on a girl just like her.
This is a production which is unafraid of silences, poignant pauses and tableaus which really drive home every piece of symbolism and theme of the script. The image of the Birlings brought low by the Inspector, wrapped in blankets on the cobblestones beneath the very house they presided from is one that will stay with me for a long time. I enjoyed the use of the young actors throughout the piece and the ensemble serves to remind us that we are one society and those who forget that do so at their peril. This is ably directed by Stephen Daldry (with assistance from Charlotte Peters) and ensures that the audience sees this very well-known script with a whole new set of eyes. My only tiny complaint was that we lose some of the dialogue full of foreshadowing and dramatic irony at the beginning, with the house remaining closed slightly longer than I would have liked. But this is a very small grumble in an otherwise well executed, smart production.
Moody, atmospheric, with spades of tension to boot; I love the original, but I’m pleased to report that this adaptation maintains that whilst adding many more layers and creating a version that will stay with the studiers of this GCSE piece. Ultimately, I think that is what is important; maintaining the integrity and message of the original whilst compounding its importance for the future generations that are, and will be, reading it in class. The audience, both young and old, leave with ‘fire and blood’ in their minds, left with the message of ‘one society’ that is more important now than ever, almost 80 years after it was first produced in the West End.
As the weather turns frosty, it feels like we too have stepped beyond the fur coats and into our own endless winter. But if that means joining the Pevensie children on an adventure, then this winter brings plenty of warmth!
The stage adaptation of C.S. Lewis’s “The Lion, the Witch and the Wardrobe” is a magical experience that brings Narnia to life. Directed by Michael Fentiman, this production blends music, puppetry, and energy, making it a treat for fans old and new.
The Wales Millennium Centre delivered an unforgettable experience. Marking the novel’s 75th anniversary, this adaptation enhances the beloved story’s magic. With breathtaking staging and a talented cast, it brings the wonder and adventure of Narnia to life.
From the moment the lights go down, the visuals are breathtaking. Tom Paris’s set and costumes transport the audience into the snowy forests and the White Witch’s icy castle. The puppetry, especially in bringing Aslan to life, is wonderful. Actor, Stanton Wright, along with a team of puppeteers, makes the lion feel both powerful and real.
The music by Benji Bower and Barnaby Race adds depth with folk-inspired melodies. A unique touch is the actors’ playing instruments live on stage, making the atmosphere even more immersive.
The cast shines, led by the four Pevensie children, who capture both the wonder and sibling squabbles of youth. Joanna Adaran (Susan), Jesse Dunbar (Peter), Kudzai Mangombe (Lucy), and Bunmi Osadolor (Edmund) bring their characters to life, making Edmund’s transformation from selfish to redeemed very moving.
Katy Stephens is both chilling and captivating as the White Witch. Archie Pope’s Mr. Tumnus is warm and endearing, and his nostalgic song about spring is a show highlight. Ed Thorpe’s Mr. Beaver brings the perfect amount of humour, while Anya de Villiers as Mrs. Beaver is equally delightful.
The audience reacted with gasps of wonder and enthusiastic applause, especially during the wardrobe’s magical transformation into Narnia. The mix of humour, adventure, and emotion made the show enjoyable for all ages.
Some special effects may not be as striking from seats farther away, and the first half’s pacing is uneven, with some scenes dragging while others felt rushed. At times, the music overpowers key dialogue. Aslan’s portrayal as both a puppet and an actor is creative, but some may find the transition a bit distracting.
And of course, no matter how magical the show, it doesn’t come with a real portal to Narnia. Some audience members (myself included) might leave a little disappointed after checking the back of their wardrobes at home!
This adaptation is a brilliant retelling of a beloved story. With strong performances, stunning visuals, and immersive music, it captures the heart of C.S. Lewis’s classic. Despite minor flaws, the passion and creativity behind this production make it must-see. Whether revisiting a childhood favourite or discovering Narnia for the first time, this show is a magical and unforgettable experience.
Taking off my critic’s hat for a moment—this production completely swept me away. I could go on and on with praise, but I urge you to see it for yourself. I felt like a child again, lost in a magical world brought to life in the most fantastic way. It’s 317 days to Christmas, but in Narnia, every day could be Christmas. If I could exist in both the real world and Narnia like the Pevensies, it would be a dream come true!
Bat Out of Hell unapologetically storms onto the New Theatre stage, bursting with the greatest hits of Jim Steinman and Meatloaf, a set straight out of a dystopian cityscape, punchy, stylish dance routines and vocals to die for.
There’s a lot to take in, from the tunnels of Obsidian, the incredible band pouring their hearts and souls into the beloved songs, the performers who look like they’re having an absolute blast and the lights and sounds which fill the theatre to even further capacity. The storyline follows a rag tag bunch of unageing friends; The Lost, who live beneath the city in the tunnel system. With echoes of JM Barrie’s Peter Pan, (indeed where the piece has its origins as Jim Steinman originally intended to pen an updated version of the play called Neverland), The Lost are bombastic, free spirited and unashamedly living their ‘forever 18’ lives. Above ground, the ‘Hook’ of the piece, Falco, threatens all that they stand for, trying to bring enforced order to their bohemian lifestyles of rock and roll. His free-spirited daughter, Raven, however, has fallen in love with the forever young Strat and is determined to run away, find The Lost and live her life her own way and be free.
Although the themes of Peter Pan are still evident in some ways, the piece now stands apart and carves out its own space in the Musical Theatre genre. To draw parallels with other jukebox musicals would be unfair; it does have similarities, but it is certainly unlike anything I have ever seen on stage before in shows such as We Will Rock You, for example. The show is pure theatre. It is unashamedly over the top, loud, proud and explosive. From the first number to the curtain call, the audience is grabbed by the frilly white shirt and pulled into their world. The dance numbers are electric; the leads and ensemble leap across the stage using the tunnel set to its full potential, disappearing and reappearing through its maw. The pure energy of the routines really impressed me; the ensemble earning their cheers in the finale just as much as the lead performers.
And what a cast of leads it is. Our four main characters clearly have Bat in their blood; Rob Fowler as Falco and Sharon Sexton as Sloane both originated their roles in the 2017 production. They clearly know these songs and these roles like the back of their hands; their musical numbers are truly spectacular with vocals that are described in no other way than brilliant. Paradise By The Dashboard Light is spectacular and hilarious in equal measure, but their voices reach even further heights in What Part of My Body Hurts the Most and It’s All Coming Back To Me Now. They clearly adore this piece of theatre; it oozes out of them whenever they step on stage.
Katie Tonkinson as Raven also returns to the role having played Valkyrie and cover Raven in the UK and International Tour and Peacock Theatre. She brings a perfect naivety to the role but then owns the stage with confidence and poise in her musical numbers. Heaven Can Wait was beautifully sung showing her softer more emotional vocals, but the counterpart to this was her heartfelt, raw rendition of It’s All Coming Back To Me Now. Glenn Adamson as Strat owns the stage and proves why this is a role this he is critically acclaimed for. He clearly channels the performances of Meat Loaf and his performance leaves the audience breathless; he bounds across the stage with restless energy and pours every energy into every single song. The ‘greatest hits’ are truly made his own with an obvious standout being his performance of Bat Out of Hell, truly raising hell at the end of act one. Georgia Bradshaw as Zahara and Ryan Carter as Jagwire also deserve mention, for their rendition of Two Out of Three Ain’t Bad alone; their vocal acrobatics had me on the edge of my seat.
The tour tries new things too, with the current in vogue method of bringing onstage videography to the production. I enjoyed this element as it did allow an extra layer to the performances and enabled lots of close ups and different angles of the musical numbers. I did, sometimes feel a little overwhelmed as I wanted to look everywhere at once; at the screens, the action on stage, the dancers and the lead vocalist. The cast also uses handheld mics throughout, even throughout dialogue. This does give the show a distinct concert feeling but it can sometimes feel slightly distracting.
Overall, the show is pure energy, dragging the audience along with its joy and vigour and certainly pulled people to their feet by the end to sing and dance along. For fans of Jim Steinman and Meat Loaf this is an absolute must, but there’s something here for everyone so catch it at the New Theatre before it roars off to the next stop of its tour!
Over the past couple of years, it has become somewhat of an annual tradition for me to take the short journey to the Weston Studio and the Wales Millennium Centre to watch a queer-infused re-telling of some of the most iconic Christmas classics to ever exist. The last three Christmases saw Polly Amorous and the team take over the venue with their unique version of festive stories (the most recent of which is the first xxxmas which you can read about at https://getthechance.wales/2023/12/23/review-the-first-xxxmas-by-rhys-payne/) but the team working on this year’s project took a much more classically theatrical twist! As the name would suggest this iteration of The Nutcracker players homage to the iconic two-act ballet of the same name and I have to admit this is not a show I am particularly familiar with and so it did take me a little longer to pick on some of the nods and reference to the original show.
Production Images Kirsten McTernan
The story explores the underground world of misunderstood creatures as they highlight their skills in the wonderfully eccentric “Le Crack” through a series of cabaret-style performances. I thought that it was particularly clever that the opening moments of the show showed the group of outcasts actually putting on the aforementioned cabaret performance for the audience as this beautifully blended the lines between the story and reality that totally made sense!
My favourite performance in this version of The Nutcracker however was the captivating Cadbury Parfait who took on the wonderfully iconic role of the Sugar Plum Fairy. From the very moment this performer stepped onto the stage, they instantly stole both the spotlight and the audience’s attention as they showcased an incredible burlesque-infused performance. The performer used every inch of the stage as they began peeling off layers of their gorgeous insanely regal, gorgeously pink outfit which the audience went absolutely wild for. The second half of this production, however, saw the sugar plum fairy fully embrace a more villainous perspective as she began to spout a series of homophobic/transphobic abuse at the budding couple of the Nutcracker and the Rat King. This transformation began with the character being shrouded by towering curtains (which later magically cascaded down to the floor to reveal her new outfit) above the stage as she donned her Margret Thatcher-inspired suit/hair as she began spouting transphobic/homophobic abuse at the new coupling of the Nutcracker and the Rat King which was clearly a reference to the section 28 laws passed during Thatcher’s leadership. This then transformed into a performance of a performance of “Just Don’t be Gay” which was a comedic, cabaret-centric number that exposed the character’s bigoted views and also contained buckets loads of audience participation as the sugar plum fairy had key audience members reciting the straight creed of loving fixing cars, top gear and cigars. Despite being the character which the audience was encouraged to hate and boo, but I could not help myself being totally transfixed every time this character took to the stage!
Just over a year ago, we were introduced to the incredible Diomede at the first every Hell Haus event (which you can read about athttps://rhysreviews.com/2023/10/23/hell-haus-production-review/) where we were totally transfixed by their incredible lip-synch talents but I was not aware how much of an all-round musical performer they are! Diomede was announced as the titular role in this queer-adaptation of the classic Nutcracker, and they were instrumental in helping invite immense amounts of sympathy from the audience. As an innocent character brought into this underground world of cabaret, The Nutcracker is not aware of all the things that go on at Le Crack or the lives of the creatures underground and so seeing this character go from being totally unaware to becoming a victim of the oppression was very powerful! There was a hilarious sequence later in the show where Diomede was forced into a physical box after confessing their attraction towards The Rat King (captured wonderfully by Len Blanco) to her master the Sugar Plum Fairy which led to a series of hilarious events where this performer trying to encourage a romantic moment while being stuck inside the box and also reciting the “straight man” mantra introduced by the sugar plumb fairy which had the audience in hysterics throughout!
In terms of individual performances, however, there was one member of the cast who clearly used this production to showcase their immense array of talents. Before ‘the cast of Le Crack’ could take to the stage the audience was greeted by Heledd Watkins as the world’s first dominatrix cockroach who helped to introduce “Le Crack” and the rules of the evening (which was obviously very important at any event) with a series of Nessa-inspired interactions with the audience. Throughout this compare-style introduction, ‘Roach’ showcased their bilingual talents by sharing some of the information through the medium of Welsh which is obviously a fantastic inclusion. Later in the production Roach also showcased their musical talents but not only providing backing vocals for all the performers but also busting out a series of electric guitar solos which was insanely impressive!
Overall, Nutcracker: the alternative cabaret is a contemporary and entertaining twist on one of the most iconic ballets with a much-welcomed queer/cabaret style twist which allowed space for a series of mesmerising performances. As previously discussed, this is my first experience with The Nutcracker so I do believe that I may have missed some of the references to the original story, but the narrative itself was easy enough to understand. Despite being an extremely outlandish tale, the love story between the invading toy soldier and the king of the rats is particularly captivating and the added layer of queerness to the story makes it even more heartwarming. The audience was clearly immensely involved with the story as they appeared to erupt in thunderous applause or booming boos at key points in the story. I would rate this story 4 out of 5 stars!
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
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