(4 / 5)

There is nothing I love more on a lazy weekend than wrapping myself up in a cosy blanket and watching re-runs of the mockumentary sitcom The Office. If you haven’t heard of this show before it’s set in a fictional paper distribution company Dundee Mifflin which is run by an incompetent boss. I know that this is going to start a debate but, despite Rocky Gervais’ comedy, I do much prefer the American version of the show which stars Steve Carrell. The reason I bring this up is that many fans of this show will be slightly confused and excited by the title of the latest play I have watched. Within this fictional show, a character simply referred to as Andy (played by the wonderfully talented Ed Helms) jokes about writing a companion to the controversial “Vagina Monologues”, which is a series of stories of real experiences of women, which he would title “The Penis apology.” This comment comes after this character stating that he had experienced numerous women’s studies classes while at college but still expressing his frustration at the modern feminism movement. While the play of the same title is not a parody or extension of this character’s creation (it’s not a play set in a similar time frame or location as the office) it is based on a very similar experience and/or frustration.

The play is created by Anker Sengupta who also stars in this one-man production. Performing in a one-person production must be incredibly difficult as the actor is solely responsible for keeping the audience’s attention throughout. This is even more impressive as Anker was able to keep a hold of the viewers throughout the whole hour show with no use of props/theatrics and very little movement which goes to show the acting ability that he possesses! This production was performed at Cathays Community Centre (which is not a venue I have been to before) which is a very cosy and intimate theatre experience. The smaller audience allowed Anker to be able to give direct eye contact to every person in the audience which further engaged them into the centre of the story. He was able to perfectly balance the opening moments of the show where the arrogant narrator expresses all his controversial options/frustrations with modern feminism with the closing moments of the show where we see a much more vulnerable side of the character. This contrasting book-ended structure helps the audience to get to understand the character and despite only knowing them for a short hour, you leave feeling as if they have been a close friend for many years!

The show starts with our character brainstorming how he is going to explain to his girlfriend that he had ran over her cat and follows their stream of consciousness in a meandering monologue that explores some of his viewpoints on modern issues. The narrative circles back at key points veers randomly and include a range of emotion that mimics the way in which people tell stories in real life which alongside the eye contact and content of the monologues allowed the audience to warm to our character despite their very controversial viewpoints. The end of the show is much more emotionally driven and powerful as we explore our guides childhood and some of the traumatic events that led to this more negative stance of life. Anker was able to flawlessly switch from the arrogant and confident aspects of the character to this more vulnerable perspective that had me very close to tears. I would say that “The Penis Apology” is a show for a more mature audience due to the apparent issues with feminism that may go over younger viewers heads. Additionally, there is strong language throughout with references to violence, alcohol and many other controversial modern issues that would not be suitable for young people. I also think that this show could have used some sort of cue to mark the beginning and the end of the performance. Whether that is a spotlight, a section of music, an action etc that would demonstrate to the audience that the show had begun/ended they seemed to blend into each other which some audience members may find confusing.

Overall, The Penis Apologies is an excellent portrayal of the ‘modern mans’ issue with feminism who, despite how controversial his viewpoints are, we get to understand and develop a fondness for as the play progress. It is very impressive that Anker is able to keep the audience’s attention sharply on him during this one-man show without the use of any props, staging etc and the structure of the monologue has been carefully crafted to showcase a believable character.  I would rate this show 4 out of 5 stars!

Newyddion i’w croesawu yw cyhoeddiad diweddaraf Llywodraeth Cymru o ran dechrau codi cyfyngiadau cadw pellter cymdeithasol i sector y celfyddydau perfformio, ond mae adroddiad newydd gan Creu Cymru yn dogfennu cyflwr argyfyngus y diwydiant a achoswyd gan y cyfyngiadau Covid yn enwedig dros gyfnod y Nadolig sydd fel arfer mor brysur.

Mae Creu Cymru, gynghrair sector y celfyddydau perfformio yng Nghymru sy’n cefnogi ac yn cysylltu pobl, cynulleidfaoedd a chymunedau, wedi amcangyfrif mai cyfanswm y refeniw a gollwyd gan ei haelodau, sy’n cynrychioli bron holl theatrau, canolfannau celfyddydau a chwmnïau cynhyrchu’r genedl a reolir yn broffesiynol, yw £8-10 miliwn ers i Gymru fynd yn ôl i Lefel Rybudd 2 ar 26 Rhagfyr. Canlyniad gorfod dychwelyd i’r rheol o 6 gydag uchafswm o 200 yn y gynulleidfa oedd i’r rhan fwyaf o theatrau yng Nghymru ganslo perfformiadau neu gau’n gyfan gwbl gan nad oedd yn ariannol gynhaliol i barhau.

Mae Creu Cymru wedi bod yn lobïo Llywodraeth Cymru a Chyngor Celfyddydau Cymru ar ran ei aelodau am gymorth ariannol pellach ac i ailystyried yr angen am gadw pellter cymdeithasol mewn theatrau. Mae wedi bod yn eirioli dros y sector theatrau ers cyn i’r cyfyngiadau diweddar yma gael eu rhoi yn eu lle, gan gynnwys cyflwyno’r achos i Bwyllgor Diwylliant, Cyfathrebu, y Gymraeg, Chwaraeon a Chysylltiadau Rhyngwladol y Senedd fel rhan o’i ymholiad undydd i’r celfyddydau a’r diwydiannau creadigol. Tynnwyd sylw at bwysigrwydd derbyn cyllid yn gyflym yn dilyn unrhyw gyhoeddiadau ariannu.

Yn ôl Louise Miles-Payne, Cyfarwyddwr Creu Cymru, “Rydym yn cydnabod ymateb cyflym a chadarnhaol Llywodraeth Cymru i’n lobïo parhaus ers diwedd 2021 am gefnogaeth ariannol i sector y celfyddydau yng Nghymru. Roedden ni’n hynod falch o weld y Prif Weinidog yn cyhoeddi dyddiad terfyn posibl ar gyfer y cyfyngiadau ar theatrau a sectorau adloniant eraill heddiw. Ochr yn

ochr â’r newyddion ynghynt yr wythnos yma am Gronfa Adferiad Diwylliannol bellach o 15.4 miliwn, bydd hyn yn mynd ymhell i helpu sector y mae’r cyfyngiadau wedi effeithio arno’n enfawr.

Mae tymor y Nadolig yn gyfnod hollbwysig yn y calendar theatrig; mae’n denu incwm sydd ei ddirfawr angen ac yn dod â theuluoedd ynghyd. Ein hamcangyfrif oedd cyfanswm colledion o tua 8-10 miliwn i theatrau yng Nghymru yn y rownd ddiweddaraf yma o gyfyngiadau. Rydym yn ddiolchgar am yr ymgynghoriad y gallen ni ei gael â Gweinidogion a swyddogion Llywodraeth Cymru sydd wedi gwrando ar ein pryderon a’n cwestiynau.

Ar ran ein haelodau, rydym wedi pwysleisio’r angen am amser digonol i gynlluniau gael eu rhoi yn eu lle. Mae’r newyddion heddiw’n golygu bod y miloedd o gynhyrchwyr, actorion, cerddorion, canolfannau a staff cynorthwyol ar draws y diwydiant sydd wedi bod yn trafod yn bryderus a ddylent ailddechrau sesiynau ymarfer a’r marchnata cysylltiedig â chynyrchiadau sydd yn yr arfaeth ar gyfer mis Chwefror ymlaen, yn gallu symud rhagddynt gyda mwy o sicrwydd.”

Mae adroddiad Creu Cymru i Lywodraeth Cymru ar statws y sector yn nodi bod o leiaf 19 o theatrau’n gorfod canslo eu cynyrchiadau i’r Nadolig a pherfformiadau ar y gweill ym mis Ionawr.  

Mae Llywodraeth Cymru hefyd wedi cyhoeddi taliad brys o £1000 ar gyfer gweithwyr llawrydd sy’n gweithio yn y sector a fydd ar gael drwy awdurdodau lleol o’r wythnos nesaf, gyda’r manylion llawn yn cael eu cyhoeddi 17 Ionawr. Fe ymddengys y bydd lleoliadau perfformio a chanolfannau celfyddydau ac amgueddfeydd diwylliannol yn debygol o fodloni’r meini prawf ar gyfer y gronfa £15.4m gan eu bod yn gallu dangos yn haws y golled incwm a gafwyd. Fodd bynnag, hyd yn hyn, nid yw’n eglur sut y bydd cwmnïau cynhyrchu’n cael eu cefnogi os na all prosiectau arfaethedig fynd yn eu blaenau neu pa fathau o yswiriant a allai fod ar gael os bydd gwaith sydd wedi’i gomisiynu’n cael ei ganslo.

The latest Welsh Government announcement to begin lifting social distancing restrictions is welcome news for the performing arts sector, but a new report by Creu Cymru documents the crisis-status of the industry caused by the Covid restrictions particulary over the typically busy Christmas period.

Creu Cymru, Wales’ Performing arts sector alliance that champions and connects people, audiences and communities, has estimated that the total loss of income for its members, who represent virtually all the nation’s professionally run theatres, arts centres and producing companies, is between £8-10 million since Wales re-entered Alert Level 2 on the 26th December. Having to return to the rule of 6 with a maximum capacity of 200 resulted in most theatres in Wales cancelling performances or closing completely as it was not financially viable to operate.

Creu Cymru has been lobbying Welsh Government and Arts Council of Wales on behalf of its members for further funding support and to reconsider the need for social distancing in theatres.  It has been advocating for the theatre sector since before these recent restrictions were put into place, including presenting the case before the Senedds Culture, Communications, Welsh Language, Sport and International Relations Committee as part of its one-day inquiry into arts and the creative industries.

The importance of getting funds turned around quickly following any funding announcements was highlighted Louise Miles-Payne, Director, Creu Cymru said “We recognise the swift and positive response by the Welsh Government to our continued lobbying since the end of 2021 for financial support for the Welsh arts sector. We were extremely pleased to see the First Minister announce a potential end date to the restrictions on theatres and other entertainment sectors today.  Alongside the news earlier this week of a further 15.4 million Cultural Recovery Fund, this will go a long way to help a sector hugely affected by restrictions. The Christmas season is an incredibly important part of the theatrical calendar, it brings in much needed income and brings families together.  We

estimated total losses of around 8-10 million for theatres in Wales in this latest round of restrictions.  We are grateful for the consultation we’ve been able to have with Welsh Government Ministers and Officials who have listened to our concerns and questions.

On behalf of our members, we have stressed the need for sufficient time for plans to be put into place. Today’s news means that the thousands of producers, actors, musicians, venues and supporting staff across the industry who have been anxiously debating whether to begin

rehearsals and the subsequent marketing of productions planned from February onwards, can now proceed with greater assurances.”.

Creu Cymru’s report for the Welsh Government on the status of the sector documents that at least 19 theatres had to cancel their Christmas productions and performances scheduled in January..

The Welsh Government also has announced a £1000 emergency payment for freelancers working in the sector which will be made available through local authorities from next week with full details announced on January 17. Venues and cultural arts centres and museums look likely to meet the eligibility criteria for the £15.4m fund as they can more easily demonstrate the loss of income they have suffered. However, it is as yet unclear how producing companies will be supported if planned projects cannot go ahead or what insurances could be available if cancellations come after the work has been commissioned.

What’s in a text? The novel, the written word – what’s it made of? The paper, the binding, the ink? Or something more elusive and ethereal? The four plays comprising the Sherman Theatre’s ‘Radical Reinventions’ series explored this question in earnest. Referencing everything from Goethe to Grindr, these plays used a handful of props and lashings of creativity to examine (in thirty minutes or less) why we continue to tell these stories hundreds, or even thousands, of years later.

Two of the plays, The Love Thief and Tilting at Windmills, I have already enthused about. I happened to see the final night of performances of Hamlet is a F&£$boi and The Messenger, which allowed me to reflect on how and why these four plays affected me so deeply.

Hamlet is a F&£$boi is written and performed by Winners’ Lowri Jenkins and directed by Mared Swain, based on the works of William Shakespeare among others. Essentially Fleabag meets My Fair Lady (only with the roles reversed), the play follows the lovelorn Evie (Jenkins), who would very much like to take a match to tinder and burn the whole thing to the ground. Fed up with the foibles of flesh and blood boyfriends, she turns to fiction to find her own personal Mr Darcy. Jenkins is daring and dynamic, and the play itself a whirlwind of venom and melancholy that savagely skewers the modern dating scene.

I wonder how Jenkins would have dealt with three of Shakespeare’s heavyweights – like Romeo and Macbeth, for example – instead of teaming Hamlet with Paris (from Homer’s The Iliad) and John Proctor (from Arthur Miller’s The Crucible) – though it would be hard to improve on such a funny and powerful play. It’s genuinely hilarious to watch Jenkins convey the waning swooniness of her literary crushes (and to watch her mimic the puffed-up bravado of the titular heartthrob), not to mention how genuinely affecting it is to watch her explore the reasons why we return to books and when we should put them down.

The Messenger is written and performed by Sherman Associate Artist Seiriol Davies (How to Win Against History) and directed by the Sherman’s Artistic Director Joe Murphy. Inspired by Romeo and Juliet, The Messenger is a musical epic in miniature, charting the changeable fortunes of its titular emissary, trainee priest Giovanni (real name: Shane), as he is tasked with a holy mission that might just determine the fate of the fisticuffs between the Montys and the Cap-Caps.

The Catholic Church urges Shane/Giovanni not to climb every mountain, definitely not to ford every stream, and to avoid rainbows like the plague (though after the last two years, I think we’re going to have to seriously rethink that idiom) – and he does just that, with a lot of singing, rhyming and sexy dance fighting along the way. I have genuinely never been more entertained; Davies is a one-man West Side Story, blazing through each number with brio and spiriting the audience away on a breathlessly anarchic adventure.

So, other than the obvious, why have the Sherman Theatre’s ‘Radical Reinventions’ continued to occupy my mind? It’s because they’re not only rollicking good stories, but that they speak to why we continue to tell stories at all: because they give us permission to hope, to dream, to love, and to live vividly and boldly and bravely. They’re not only smashing the text, they’re remaking it for a new, better world. Fiction, like life, has its limits – but as long as there are barriers and binaries alike, the Sherman Theatre and its exceptional talent will continue to break through them.

All four of the Radical Reinventions have been a joy; together, they are a triumph.

Hamlet is a F&£$boi is now available to stream on demand anytime until 24^th December and you can see The Messenger’s Seiriol Davies as The Ghost of Christmas Present in A Christmas Carol at the Sherman until 31^st December. (Tilting at Windmills is also available to stream on demand anytime until 24^th December – here’s why you should).

Black Box Events, set up by Denbigh born Mark Hughes, specialise in unique events and entertainment across North Wales. Since its creation in 2019, the company have provided a variety of successful events across a number of different venues in the region. Mark initially started hosting murder mystery events back in 2017 as fundraisers for varying causes and enjoyed it so much he decided to turn it into a part time job! All Black Box’s actors either have professional training or a wealth of experience in performing and this was certainly made clear throughout their latest production Murder Under the Mistletoe at Theatr Clwyd.

On entering the Clwyd Room at the venue, we are greeted with what looks like an office party set up; lots of tables boasting beautiful festive centrepieces, a makeshift bar (with a free glass of wine included on entry…I like this office party already!) and Christmas tunes playing through the speakers. There is even an office Santa making his rounds. The only giveaway that this is not your average office party is a notebook and pen atop the table for scribbling down clues and musings, and a QR code (how modern!) which, when scanned, takes us to a set of character profiles, giving us an insight into the characters we will be meeting this evening. And before we know it, those characters are in the room, chatting, not only amongst themselves but to us, transporting us to their office party and making us included in their company. That company being TechQ. The company director, Jackie, has seemingly thrown us all this party to celebrate such a successful year. Although we already start to get a glimpse that something is not quite right as the characters begin to bicker, throw looks at each other and, as is somewhat expected from a murder mystery evening, one goes and pops their clogs. And it just happens that Inspector Beckett is attending the party and so begins the fun! The inspector duly lines up the culprits ‘on stage’ and we start to learn a bit more about them. After this, it is our turn to interrogate and so ensues a hilarious back and forth between the inspector, the audience, and the characters, all of whom are portrayed brilliantly throughout and, even more impressively, the company improvise most of the piece. As the audience interaction heightens it is wonderful to look around the room and see audience members get so involved: writing in their notebooks, chatting to their friends and family about who they think’s ‘dunnit’ and even turning to guests on other tables and comparing clues! Towards the end, the audience must put on their ‘Sherlock’ heads and decide who they think did it! There is even a prize for the correct guess!

Despite it being ‘murder most horrid,’ this truly was a festive evening; we were even treated to a few Christmas numbers by the boss’ PA as well as her son! All music, sound, props etc. were organised by the cast super slickly and each character had their own clear aesthetic and personality; often stereotyped but not too over the top. There was plenty of dark drama from Jackie and her family, perfectly balanced by some wonderful comedy moments from Jackie’s PA, Josie…and Edward’s wig! The action was not without excitement but there were also a few interludes where the characters left the ‘stage’ and the audience were able to take toilet breaks, purchase another drink and/or discuss the goings on at TechQ! The company even stayed behind at the end of the performance to talk to the audience and take photos with them-a lovely gesture.

Black Box can cater for a wide variety of events including weddings, parties, corporate or even nights in with friends! They can hire out singing waiters, flash mob choirs and even a cinema screen/projector; bringing the magic of the movies into your home (something which went down a storm over lockdown!) And in 2022, Black Box will be hosting their murder mysteries all over North Wales so make sure to keep an eye on their social media channels for ticket info!

You can find them on Facebook and Instagram (just search for Black Box Events North Wales), or you can give Mark a call on 07748 747209 to start organising your personalised event!

Theatr Clwyd, Mold

December 11^th, 2021

Writer: Mark Hughes

Director: Mark Hughes

Cast:

Inspector Beckett: Mike Teeson

Jackie Guzzel: Karen Campbell

Sophie Guzzel: Sei Watkins

Ben Guzzel: Mark Hughes

Edward Bamford: Shea Farron

Donna Jarvis: Norma Davies

Josie Davies: Sarah Leanne Davies

In the heart of Peckham, Theatre Peckham showcased ‘The Wonderful – there’s no place like Peckham’. Prior to the show, Theatre Peckham kicked off in festive spirit style. The atmosphere in the theatre once you’d entered lingered with seasonal warmth from Christmassy smells oozing from moist raisons in delicious mince pies, citrusy bursts from mulled wine, fizz bubbling Prosecco, orange juice and original home-made Kromati rum.

The set designer; Emma Wee made good impressions from the get go! As soon as you walked in to Theatre Peckham you were greeted by the fantasy realm, the designs won the hearts of both children and adults due to the familiar elements from memory lane from our beloved musicals; such as the yellow brick road from the Wizard of OZ, which lead the audience up the staircase to see the show.

‘The Wonderful’ is a vibrant unique pantomime production, wonderfully infused with great concepts inspired by ‘Black Panther’ & the ‘Wizard of OZ’. ‘THE WONDERFUL’ is a modern twist of fanatical & mystical fairy tales guaranteed to offer vibrancy that’ll stimulate enough laughter to keep you wanting more! 

Well delivered and received cultural innovation from Africa, with an abundance of hip hop groove, vogue, topped with well-choreographed dance moves and catchy singing verses from the entire cast which belted into sweet harmonies from the souls and hearts of the audience subconsciously. This production would not have been possible without the creative team – Director; Geoff Aymer, musical director; Ben Christopher, writer; Suzanne Mcclean, lighting designer; Designer; designer; Katrina Russell Adams, Tim Speechly, choreograpgher; Christopher Tendai, Composer; Jordan Xavier, and Set & costume; Emma Wee. 

‘The Wonderful’ features a modernised twist of Afrofuturism where an unstoppable crew expanded on the pros & cons of how Artificial intelligence feels from a non-existent soul, (Cyri) played by ‘Amy Bianchi’, social media (Tik Tok) played in the form of a dog by ‘Sebastian Chambers’, technology, Pinky without the brain ‘Manny’ played by ‘Billy Lynch’ and the evil forces in the midsts of realty & fantasy from villain ‘AyGum’ played by ‘Tarisha Rommick’ and the sensation & importance of community from the fellow cast.

The moral of this production was that irrespective of personal missions, challenges are inevitable, however in spite of disasters there is always hope to allow us to overcome. Greatly presented by the main character ‘Efe’ played by Ashleigh Mae, who achieved and accomplished her pursuit of happiness from clarity to realisation within the fantasy world, which prepared her for the physical conscious realm back home in Peckham. Transpiring from the realistic elements experienced in households where we tend to feel misunderstood & unheard at times.

‘The Wonderful’ featured not only local talent but fun, upbeat and enchanting talent from the young company dance team. Having the presence of children in this play exuded a youthful experience which made this play even more worthwhile to watch and enjoy.

‘The Wonderful’ is a true magical reflection sprung to life, this production takes each audience member on an unforgettable adventure. Each character sparkled mystical stardust of optimism, laughter and the feelings of hope. The modern spin of the ‘Wizard of OZ’ & ‘Black Panther’ provided exceptional strengths that alienated distorted weaknesses from each character- highlighted by the hilarious & wacky character ‘The Wonderful’- played by ‘Ray Emmet’.

From magic machinery, dazzling flashing lights displayed on the multi- colourful set, dance, spice & everything nice, sass and so much more… the passion, music and entertainment expressed from all of the above is enough to keep you wide awake throughout!