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Theatre

Review, The Girl on the Train, New Theatre, Cardiff by Bethan England

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Based on the 2015 book that debuted in the number one spot on the New York Times Fiction Best Sellers list and the 2016 film starring Emily Blunt, a lot of the audience will be no stranger to the psychological thriller, The Girl on the Train. It’s a hard ask of a new play adaptation to maintain that suspense and climax when, let’s face it, a lot of the audience probably already know the ending! The stage version, which debuted in May 2018 at Yorkshire Playhouse, is adapted by Rachel Wagstaff and Duncan Abel and is a feat to fit this 320 page turner into a just 2 hour play without losing any of the grit or drama and without leaving the audience totally in the dark. I’m pleased to report that this adaptation ably pays homage to its source material whilst also being its own, worthy, entity.

The stage is very bare, but reminiscent of Rachel’s mind itself; the blank spaces representative of the blackouts and gaps in our lead character’s own memory. The starkness of the stage aided rather than detracted from the action; with no massive set pieces to distract, the action entirely centres on the cast and ensemble’s actions and speech and you find yourself on the edge of your seat to catch every word. I also loved the projection screens at the back of the stage, cleverly adapted and used to create Rachel’s train journeys, the rain pouring down the windows of the flat, Megan’s artwork and more. The use of lighting was also effective, with train tracks appearing down the rake of the stage and characters disappearing and reappearing into floods of light. It reminded me again of our unreliable narrator, struggling to see clearly through the haze of her memory.

Director, Loveday Ingram, ably brings the piece to life and I especially loved the scenes with flashbacks where missing woman, Megan Hipwell, reappears and helps us to piece together what she was like. I enjoyed the forays into the past as Rachel watches on, living through the parts of Megan’s life that may have, until now, remained hidden. It helped the audience to really see Megan as a living, breathing person, not just a statistic and the direction of these segways really helped; Rachel shrinking back to the shadows as the main action shifted backwards. I also loved the use of ensemble throughout the piece; the train coming to life with commuters or party goers without so much as a set change, all kudos to the direction and movement of the play.

Louisa Lytton, leads an excellent cast, having taken over the role from Giovanna Fletcher on 15th April. Probably best known for her time in Eastenders, she’s also no stranger to psychological thrillers onstage, having recently played Jenny in 2:22 A Ghost Story on its nationwide tour. Louisa brings Rachel to life with ease, the unreliable narrator of the piece, the girl who has created a whole life for the woman she sees on her train journey every day. She never descends to pastiche, creating a real, 3D Rachel Watson who is undeniably flawed but whom the audience still roots for. Her ability to really draw the audience into Rachel’s plight to help find Megan’s killer is really enthralling to watch and her journey is one I became thoroughly invested in throughout the 2-hour run time.

Natalie Dunne as Megan Hipwell brings real depth to Megan Hipwell, the missing woman made flesh through her performances in the flashbacks. Her anguish and fears are palpable, particularly in her scenes with psychologist Kamal Abdic. Zena Carswell plays Anna Watson, the woman who has usurped Rachel’s marriage. I enjoyed the way Zena so ably showed us Anna’s descent, so eerily like, so we find out, the way Rachel has fallen.

Daniel Burke as psychologist, Kamal has a wonderful resonance of voice which gives the character a real gravitas. His scenes with Zena’s Megan Hipwell are particularly poignant, as the character struggles with the line blurring between professional and lover. Samuel Collings shows us the grief and anger of Scott Hipwell as he navigates first the missing and then the murder of his wife. Some great light and shader here with Samuel cleverly flipping between misery and aggression. Jason Merrells also deftly shows us every side of Tom Watson, adoring husband, concerned ex-partner and more as the plot develops. A very convincing performance. Finally, I thoroughly enjoyed D.I. Gaskell, brought to the stage by Paul McEwan. A believable detective, with moments of lightness and humour delivered with skill to break the tension inevitably created by a piece such as this. All in all, a talented and able cast and ensemble who were a delight to watch.

Whether you’ve read the novel, seen the film, or go in completely blind, this production of The Girl in the Room will keep you guessing, gasping and on the literal edge of your seat. I went in without any knowledge of the plot and the reveal was delivered with a poise that kept me wondering right up until the end. The plot is drip fed to the audience and leaves us breathless with anticipation. If you’re a fan or totally new to the story, the ‘thriller that gripped the world’ will go on thrilling, and gripping, every audience member that dares to embark on Rachel Watson’s journey.

Theatre

Review: An Inspector Calls, Venue Cymru, Llandudno by Richard Evans

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Venue Cymru, Llandudno, May 13th – 17th 2025 and touring

out of 5 stars (4.5 / 5)

A PW production. Directed by Stephen Daltry. Written by J. B. Priestley

“Send not for whom the bell tolls, it tolls for thee.”  John Donne, Meditations.

J. B. Priestley’s play is now regarded as a 20th Century classic and rightly so.  Especially since Stephen Daltry’s revival in the 1990’s it has become a staple in so many English Literature curriculums up and down the country. Would this production live up to the play’s reputation?   Tonight, it certainly did.

The action focuses on the highly successful Birling family who are celebrating the betrothal of their daughter to the son of a rival business firm.  As this takes place, an inspector knocks at the door and informs them of the death of a woman, Eva Smith, from a painful suicide.  The inspector in turn interrogates every member of the Birling family and the fiancé to uncover their part in Eva’s demise, something that they had been unaware of and felt no responsibility for.  In a dramatic climax, the family understand that this inspector was a mysterious imposter and that there was no suicide so intend to carry on as usual, until they get a phone call informing them of the death of a woman through suicide and that an actual inspector is on his way to investigate. 

The cast communicated the powerful nature of this play really well.  Tim Treloar was excellent as the inspector and Leona Allen striking as Sheila.  However, in a play with much confrontation there were times when dialogue was lost as people spoke very quickly and the music while adding drama to the action could be too loud.  The set was effective, with the dining room of the family set above the stage.  When the family realises they will be disgraced by their callous treatment of Eva, the room collapses.  There is attention to detail.  When Mrs Birling walks from her house, a carpet is rolled out for her to walk on.  

The play has several layers of meaning, some obvious, others more subtle.  The most striking point is that we belong to a society and have a duty of care to a greater or lesser extent for each other.  A laudable ambition which is undermined by an inherent selfishness that we all seem to possess.  Less apparent is how the play attacks the hypocrisy of Victorian and Edwardian society and its attendant class system.  As the song “All things bright and beautiful” illustrates, ‘the rich man in his castle, the poor man at his gate’, a structure ordained by God.  Priestley’s socialist views reacted strongly against this idea.  

The play is regarded as a drawing room drama, and as such, it has waxed and wained in popularity as presentation fashions have changed in time.  However, the play has an enduring appeal and is a timely reminder of our sense of common humanity.  It is of course a hard hitting call to conscience to be mindful of the less privileged in society and ensure that they can access a decent lifestyle.  It may not be comfortable viewing, but it is compelling theatre with a highly pertinent point to make in our increasingly materialistic society.

Theatre

Review Port Talbot Gotta Banksy, Sherman Theatre by Bethan England

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out of 5 stars (4.5 / 5)

Christmas 2018, Banksy gives a unique present to the town of Port Talbot; Seasons Greetings, an artwork painted onto the garage belonging to local, Ian Lewis. The image, poignant in its positioning, location and ability to stir up the emotions of the inhabitants of the town, literally takes centre stage in this new production from Theatr3. In the weeks following the gifting of the artwork, Theatr3 spoke to the people of the town about their thoughts and feelings on the piece and the wider implications of it being in the industrial landscape of Port Talbot.

Writer and Director, Paul Jenkins and writer, Tracy Harris, have taken over 150 hours of audio and created a piece which is truly reflective of the voices of the people of Port Talbot, because it is literally their voices and their words which have been fully integrated into the piece. The play feels like a conversation with the people of Port Talbot; the audience are truly involved in the piece because of the brilliance of the delivery and the truthfulness of the lines. I have not seen a play before which captures the Welsh voice so well; the naturalism of the speech, including the pauses, the ‘umms,’ lines punctuated by the inhalation of a cigarette with no concern to the listener, it’s all so true and reflective of the community it is representing, without being condescending or belittling.

Design, sound and video blend seamlessly here to create an audio and visual landscape of the steel town (Design by Cai Dyfan, Video by Andy Pike and Ethan Lloyd of Apel Studios, sound by Georgina Nobbs and additional composition by Dai Griffiths). I loved the ever present ‘towers’ complete with lights, changing colours and twinkling throughout, creating the industrial beauty of Port Talbot. The main visual of the ‘garage’ in the centre is used to great effect, first bearing the image of the ‘Port Talbot Banksy,’ but changing throughout to the local greasy spoon, the Marie Curie charity shop and even at one point bearing the mantra, ‘Cofiwch Dryweyn.’ Simple but effective was the ‘removal’ of the artpiece, the image slowly rising upwards as smoke billowed, sounds echoed around the theatre and Time To Say Goodbye resonated, as the residents stood silently by and watched their Banksy being taken away. 

With inspiration drawn from Brecht, the actors change roles in the blink of an eye. Two rails of costumes and props line stage right and stage left, and they leave stage as one character only to, almost immediately, appear as another. The physicality of every performer is brilliant, never leaving you in any doubt as to the transition to another role. Clearly hours of work have been put in here to faithfully recreate the voices of the people of Port Talbot, it is eerily accurate, even stammers and incorrectly chosen words are copied and presented here, with my personal favourite being ‘muriel’ instead of ‘mural. The cast are, without exception, phenomenal. Matthew Bulgo, Holly Carpenter, Ioan Hefin, Simon Nehan, Jalisa Phoenix-Roberts and Kerry Joy Stewart multi role throughout the play; ever changing accents, voices, physicality, social backgrounds and life experiences.

There is much comedy to the piece, moments where the audience are rolling with laughter, rapidly juxtaposed with being brought close to tears. Port Talbot Gotta Banksy pulls you through a whirlwind of emotions as ever changing and flighty as the emotions of the town itself. The human experience of the show is starkly set against the experiences and shared history of the whole town. Act One deals with the artwork, yes, but Act Two dives deeper into the wider issues enveloping Port Talbot; the precarious balance of wanting the furnaces to stay for employment contradicted by the lived experiences of the residents; the soot lining their windowsills, the clothes on the line turning orange, the 33 year old dying of asthma and COPD. As an audience member, you feel torn between the steel worker, who’s worked at the furnaces for his whole life, who cries ‘in front of his butties’ and the council worker who urges us that we should be looking to the future. The uncertainty for the future, the fear of change, a town scared that it’s being left unnoticed and uncared for, is palpable, it grips you and doesn’t let go.

With the recent support from the Government for Scunthorpe Steel, the timing of this production could not be better. The loss of so many jobs in Port Talbot whilst Labour steps in to help with potential nationalisation across the border must truly be a bitter pill to swallow for the residents of the Welsh town. The play that starts with an artwork but that goes so much further is one that you really need to see if you possibly can. It gives all sides and perspectives room to breathe and opens the debate further; allows an audience to see perspectives they may never have considered previously. Finally, the voices of the people recorded are truly heard; the actors remove their earpieces and the words they’ve replicated in the performance are spoken by the residents; the original recordings echo around the space and the voices of Port Talbot are given the ‘last word’ of the play.  

In the words of Derek Davies, whose poem features in the final scenes of the piece.   

‘Now the town has suffered dearly,

In that town that’s made from steel;

But you cannot take away their lives,

 it’s how the people feel.’

Theatre, Uncategorized

Review: Ghosts, Henrik Ibsen, Gary Owen, Lyric Hammersmith, By Hannah Goslin

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out of 5 stars (3 / 5)

Gary Owen, known for his phenomenal play, Iphigenia in Splott, returns to Lyric Hammersmith with his adaptation of Henrik Ibsen’s, Ghosts. Featuring welsh actor Callum Scott Howells who has graced our TV screens in It’s a Sin and the stage with Cabaret and supported by a host of other famous faces, this classic tale is brought into the modern world.

Ghosts tells the story of the class system, long-term abuse and the intertwining relationships between. When Helena wants to use the money from her abusive late husband to create a children’s hospital, it begins to unravel as the truth comes out about him. She is catapulted backwards to her memories of trauma and, with her son Oz home, soon the unspoken secrets are revealed, creating problems that cannot be solved.

The entire performance takes place in one room – it looks like a plush building, with a glass window, that only ever looks out at the clouds and mist. The walls are plastered in the back view of a man’s head – a man we never meet. There’s a sense of someone always present, and when we hear the tales of abuse by her late husband, there’s this sense of him always watching. The cloud-covered building is hidden away from normality of the village, and this is only ever broached by the outsiders who are invited in. There’s a reference to class not only in this but outwardly acknowledged, and the concept of privileged in abuse underpins a lot of the story.

What is interesting is that the story delves into the juxtaposition of being a victim and this experience of turning them into an abuser. Helena (played by Victoria Smurfit, seen recently in the acclaimed Rivals) uses her position to push down the trauma, but as it unravels and her along with it, she uses her taught behaviour to impact others, using her privilege to forward abuse. It’s a really interesting take on domestic abuse and creates a feeling of unease, when, a not entirely likeable character creates an atmosphere where you feel sympathy, but breaks and returns to the unlikable person.

Scott Howells plays a lovable fool, brought up rich and sent away, he is a budding actor and holds the majority of the comical lines. He’s awkward but also bubble wrapped and this comes across in his interactions with others. His relationship with Reggie (played by Patricia Allison) becomes the one relationship that he isn’t pretentious in and the child-like innocence between them is natural and fun. It lulls us only into what comes next and they both create that easy environment, so when the mic-drop moments of the play happen, it makes you audibly gasp and feel very uncomfortable – exactly the purpose.

The only parts that felt a little out of place were some of theatrical approaches – for a large part, the play has a naturalistic feel – the performers conduct their interactions, there are monologues, and there is nothing wrong with this. On its own, the shocking moments would be as shocking. But later, there’s a change to choral/foreboding church music; some electronical music that crescendos; freeze frames and silhouetting, which are all fine as theatrical choices, but adds very little to the production. If this was throughout in little pockets, it may have added more to the performance. It unfortunately felt a little shoe-horned it and without purpose.

Overall, Ghosts is an enjoyable production. Full of twists and turns and shocking moments, it also has moments of comedy and lovable characters, doing well to create a comfortable space to plunge the theatrical blows.

Theatre

Review, Little Women, New Theatre, Cardiff by Bethan England

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out of 5 stars (4 / 5)

‘Little Women’ is loved across the world in its various iterations; from its original publication in 1868, it has been widely adored, with critical and commercial success. Based loosely on author Louisa May Alcott’s own life, we follow the lives of four sisters; young women forging their path from childhood to adulthood. Loud and rambunctious Jo, ladylike Meg, quiet yet ‘good’ Beth and the youngest, Amy, used to getting her own way. The play begins just after their Pa has left to serve as a Chaplain for the Union in the American Civil War, and each girl is dealing with it in her own unique way.

This version has been adapted by Anne-Marie Casey, screenwriter initially who has now turned her attention to stage adaptations, having also adapted Wuthering Heights for stage in 2014. I loved the pace and the humour of this script; it loses none of the original whilst breathing life into the plot and giving these characters a chance to come alive on stage. It is genuinely witty and funny and full of heart, a fact we can, obviously, primarily credit to the original novel, but also shines here on stage which is a credit to Casey. The piece has direction and movement direction from Loveday Ingram and Mike Ashcroft respectively, and I loved the innovative use of the space. The set changes very slightly throughout, but with the direction we always feel like we are in a new space, whether that’s skating across an ice-covered pond, dancing on a balcony at a ball or stealing that first kiss in the snow.

Lighting and design, by Ruari Murchison and Mike Robertson, complements the actors well. I loved the world of ‘Little Women.’ The set is a living room amongst the trees, so to speak, but we are never in any doubt as to where we are. The trees and stool double as the window that Laurie is constantly clambering through, the flats at the back of the stage mean we can see each girl in tableau as time passes and they go from girl to woman. Sometimes simplicity is best, and I loved the idea of nature permeating the house in which the girls lived. Jo’s writing desk being ever present is also a nice touch as if, it’s the desk itself, that is charting the lives of these women. Lighting is also simple but effective; especially stark during Amy’s fall through the ice. I loved the addition of contemporary hymns and Christmas songs to add colour to the piece and to the lives of Marmee and her girls. Matthew Bugg, Composer and Sound Designer, adds his own touch to the piece; the arrangements are beautiful and sang so well by the ensemble.

This is a very well-cast company. Led by Grace Molony as Jo, who perfectly balances Jo’s tomboyish tendencies with her uncompromising love for her family, her passion for life, writing and independence, and her softer, more loving side towards the end of the show. She is excellent, a perfect Jo and she achieves plenty of laughter in our matinee audience. Jade Kennedy as Meg is wonderful; the will she, won’t she romance she shares with Jack Ashton as John Brooke is very endearing. There is, again, a lovely balance of humour but also the more serious, mothering side of Meg. They are joined by Catherine Chalk as Beth; her nervous energy around strangers is truly palpable throughout act one, and her tragic ending is expertly handled by Chalk. The final ‘little woman’ is indeed the littlest; Imogen Elliot as Amy brings a childlike innocence and petulance in act one, which blossoms very effectively into a society woman in act two.

They are accompanied by Belinda Lang who is excellent as Aunt March. Her accent is perfect, and her deadpan lines are delivered with expertise. She is delightfully blunt and rude, a fantastic addition to the cast. Ellie Pawsey understudied as Marmee in this performance and her motherly light really shone in the role. Her strength in holding together her family was really evident yet she was able to balance this with the emotion of hearing about her injured husband and the pain of losing a daughter. Outnumbered, but no less talented are the men of the piece. Cillian Lenaghan as Laurie bounds across the stage, the perfect opposite to Meg, seemingly more grown up and mature than them all in act one and then discovering his petulance in act two. Cillian counterbalances Monoly’s Jo with ease and they have a lovely chemistry. Finally, Jack Ashton who spends act one as Meg’s love interest, John Brooke and act two as Jo’s love interest, Frederick Bhaer. Ashton delivers these two distinct characters with ease. It is easy to put aside our dramatic disbelief and invest in him as both characters. I really enjoyed his Frederick especially, with a great accent and a softness and hesitation to his admission of feelings for Jo. This is a faithful adaptation, which keeps close to the original but also has its own voice and identity. Its true success is in its accessibility; I have never read the book (but will do so now!) and was sat alongside two sisters who have seen every iteration on film and were read the novel every night by their mother as children. I love how we came in with very different expectations and knowledges of the story but all left having absolutely loved this version. The show is lovely; touching, poignant at times, full of heart and humour; perfectly chronicling the lives of these little girls into ‘Little Women

Theatre

Review, Krapp’s Last Tape, Barbican Centre, London by James Ellis

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Photo credit: Patricio Cassinoni

out of 5 stars (4 / 5)

Samuel Beckett might just be my favourite playwright. Why? It’s his abstractions, the eerie usage of prose for a higher truth. His plays in French and German then translated into English, capturing profound depths that wouldn’t be seen if it was just in English first.

First seen in 1958 with actor Patrick Magee, Krapp’s Last Tape have seen much success and is often regarded as one of Beckett’s finer works. This isn’t my personal favourite, though thanks to a tight production it holds up as enlightening. The play is even going with Gary Oldman in York , so there are plenty of chances to see this odd tale.

Per annum, Krapp on his birthday records another tape. A post-mortem of the year he’s had. He listens to recordings from decades past and loses himself in then, only to dismiss them as ancient histories. Aged 69, he leaves his last tape, after eating a few bananas, popping out to the kitchen in a hurried scuttle to what sounds like the pouring of wine (quite possibly urination) a few times and constantly critiques the man he was, against the man he is now.

Stephen Rea is a true Beckett actor. He had the foresight to pre-recorded the relevant material a decade ago, just in case he ever did play Krapp. Luck would be on his side thanks to laser focused director Vicky Featherstone. Set designer Jamie Vartan has the most simplistic plan, yet all you really need is a sliding door, chair, table with extended draw and that’s your lot. Katie Davenport got the tattyness of old age and white boots that might just not match the outfit. Lighting by Paul Keogan is scary and alluring in all ways. Kevin Gleeson’s, sound design keeps the suggestion of a drone in utter pianissimo throughout, near Lynchian. Stephen Wright as audio director assisted Rea with the old recordings and did a valiant job. You can tell Rea is younger, though not by a huge amount. Imagine the 30 years old tapes…

There is much to unpack about archivism, longing, resentment, ageing, loneliness, sex and lust in this mere 55 minutes. Other artists have taken the tapes ideas and ran with it, musicians especially with opera and looping material are really nice ideas. It has made me wonder about how do we preserve items in needs of tender love and care, with the passage of time decaying most materials. Through it all…was this the purpose of recording something?

Its runs till 3rd May 2025  

Festivals, Music, Theatre, Uncategorized

Review: Vexations, Marina Abramović & Igor Levit, Multitudes Festival, Southbank Centre, By Hannah Goslin

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out of 5 stars (4 / 5)

What a privilege it is to be able to see Marina Abramović’s work so often in the current day. Being brought up studying her performance art pieces, over the years, Abramović seems to be creating more and more work in London and each one new and as fascinating as the next and I feel lucky to be able to see them first hand and continue to be inspired.

As part of the Multitudes Festival, she has joined with pianist Igor Levit to combine classical music and her quintessential durational work to create a performance across 20 hours. The options to come in and out throughout these 20 hours or find yourself with a 1 hour slot in itself delivers a unique experience for each audience member and the feat of the art is, not only what Abramović is famous for, her bread and butter, but still managing to be something new and exciting.

Vexations is based on a one page score of its namesake. While simplistic on paper, the score is ordered to repeat multiple times and throughout the 20 hours, Levit does just that. But it changes; the tempo, the tone, the volume, the intention, it is somehow different every time and even in a 1 hour slot, it lulls you, surprises you, creates a dreamlike state and shocks you. You find each iteration to be new in some way and never the same as the previous. Levit first performed this over live stream during the Covid lockdown, with an aim to comment on the experience of all but especially the hardships of artists at the time. There certainly feels like a poignant commentary on this, and becomes relatable for everyone; who else remembers the days of doing the same things over and over, but those rare times of something new to break up those long years?

Front and centre, Levit is at his piano, tearing at sheets when a page is complete and throwing it in disarray on the stage, building and building over the hours. He approaches the music each time as if it is something new. By my slot, 7 hours have passed, and the endurance is clear and painful, with movement in his body, changes from sitting to standing, uncomfortable and becoming stiff, an almost madness in his eyes but also something playful alongside it. Untouched snacks are provided to satiate but he never reaches for them. He does however abruptly break, a strange moment when looking around the auditorium, while he goes to the toilet or grabs some food, that the durational audience members treat this as some kind of break, to check their phones or break themselves; almost like a unwritten interval. Watching Levit himself, while directly or through the huge mirror above, looking down like a topsy-turvy world, is intoxicating and strangely, the music at no point becomes unbearable or monotonous.

To accompany him, the black and white tiled stage is littered with well placed seating and audience members, chosen to sit and basque in the performance, eyes closed and in the moment. This is facilitated by two performers who move around with strong intent but at glacial speeds and no emotion. It is somewhat frightening but also calming at the same time. A wave of adrenaline as they come to the audience, breaking the fourth wall, will I be next? Another wave of disappointment (or maybe relief) when you’re not. But there’s also a tenderness in the blank faces and a sense of care by how they move and how they handle the audience members. It feels like a less aggressive selection process for a school sports team, or like becoming a “chosen one” from a crowd, being brought through a wall or veil we cannot see, highlighted by the preparation of shoe removal before stepping on the tiles. And watching this movement also lulls you, it is fascinating, and you can’t quite take your eyes off the performers or how the audience interact – some accept their fate, some are excited, one begins to move almost as if they have been replaced by the performer and copies her when he is released back to his seat, still in this trance-like state. One poor chap, with a wristband to show he is a durational audience member and therefore been here a while, suddenly loses all sense of his body, the performer still in a glacial but sped up way, not breaking character, rushing to him before he falls. He himself seems to have been pushed into a trance, and likely in need of water and nourishment, it is an occurrence that shows the impact it not only has on the audience but the sheer strength of the performers and Levit during these 20 hours.

And while touched upon already, there is a third performer – us. Or more specifically, those (in my opinion, lucky enough) to have been able to be there for the full day. What interesting experiences must they have had over that time, visually and also within themselves. I looked around and they themselves had become part of the performance – comfortable clothing, bobbing along to the music as if at a rock concert, cushions and blankets as if camped out to be the first in line at a festival or to get tickets, their seats marked by coffee cups or their bags on their chosen breaks. It was a social study that they were unaware they were part of and it only added to the essence of this performance.

Vexations certainly brings a new and interesting approach to the intention of the Multitudes festival. Breaking all the rules, it encompasses the whole room, physically and mentally, creating a unique experience and feeling but also an unusual and one of a kind pocket universe through song and physical art.

Circus, Festivals, Opera & classical, Theatre, Uncategorized

Review: Daphnis and Chloe, London Philharmonic Orchestra & Circa, Multitudes Festival, Southbank Centre, by Hannah Goslin

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out of 5 stars (4 / 5)

Kicking off the Multitudes festival, a festival that aims to celebrate the collaboration between classical music and other art forms, London Philharmonic Orchestra and circus troupe, Circa explodes in the Royal Festival Hall.

While the concept feels unsurprising and a good fit with one another, the actual viewing of such a spectacle is awe-inspiring and exciting.

Written for and with inspiration from dance, Daphnis and Chloe depicts the story of young love, with star-crossed lovers, a kidnapping by pirates and ultimate earthquake triggered by the rescue, eventually joining the lovers together again. This is followed by a secondary piece, La Valse, created in a time of war, depicting a society of chaos and on the verge of collapse.

The orchestra is on stage for the entirety of this performance. A quick intro by the head of music at Southbank Centre, we are reminded that, a tradition physical performance, such as circus or dance, would see a moment of applaud between pieces or at moments of monumental feats, but we are asked to hold our excitement to the end to also take in the orchestra and their equal part in this. In practicality, this is somewhat hard. A classical music novice, and clearly not the only one, a small break and an actual standing up of the orchestra and point to the accompanying choir prompts a response and so when the performers come back and the music drums back up, only then we know we are not finished. Not the end of the world but a strange sensation none the less. However, there is something lovely and refreshing to not hear an applaud each time the circus perform a death-defying stunt, while not silencing a strong, short inhale, and it gave a platform to take in the whole performance.

Despite this confusion, which is minimal in comparison to the event, the room is filled with the sounds of a typical orchestra. It reminded me how I wish to visit more classical music concerts, while with little knowledge of what to see exactly, as the live music aspect gives you a special tingle from the talent demonstrated and the beauty. As mentioned before, a choir accompanies, high in the seating to the right. Their gentle standing up for appropriate moments to join in with their choral harmonies brings a multitude of feelings, from excitement to sinister atmosphere, accompanying and competing in equal measures with the ever changing tone and range of the orchestra.

While we are unable to miss the orchestra, we are somewhat distracted by Circa. A small strip at the front of the stage is their platform, working linear and occasionally branching to the backing levels of the auditorium behind the orchestra. The feats are incredible, reaching heights using one another’s strength and contortion, it is visually beautiful and provoking of audible gasps. The amazement in itself coming from the small space they easily and effortlessly work in, compared to traditional circus tents or large vacant space. There’s a want, after the starting speech, to try and give attention to the orchestra and the choir, but it’s difficult to look at their “performance” when visually, the area is brimming with both them and the circus performers. However, you are trusting on your ears and the piece never misses a moment where all elements fit together seamlessly.

Daphnis and Chloe gels the different platforms of classical music and circus with ease and beautifully. Does it feel like a breakthrough in the arts? Not really, but you can’t help but love the collaboration and that it paves the way for more live music and preformative art forms to go back to traditional roots and bring them to the modern world.

Theatre, Uncategorized

Review Hot Chicks, Sherman Theatre, Grand Ambition by Richard E Rock

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When I was a kid (which was a very long time ago), ask any schoolboy what he wanted to be when he grew up and he would reply, ‘a footballer’. What any schoolgirl at that time might have answered I never discovered, as such social mixing was kept very much to a minimum. A pop star, perhaps?

For the two protagonists in this electrifying play, teenagers Kyla and Ruby, the answer is ‘to go viral’ and enjoy ‘pool parties in Las Vegas’. A pipe dream this may be, but it’s all these girls have to cling to, what with them coming from broken families and having no other discernible prospects.

HOT CHICKS is the latest production by Swansea’s Grand Ambition, in collaboration with Cardiff’s Sherman Theatre, and concerns people whose lives usually play out beneath the eyeline of the average, law-abiding, taxpayer. If such a thing still exists.

Kyla and Ruby are teenage friends who spend most of their spare time hanging around in a fried chicken shop in a deprived area of Swansea, antagonising the irascible but sympathetic owner, Cheney. One day, in walks Sadie, a woman who seems to have everything they crave: money, designer clothing and a winning attitude. Almost immediately, the young and impressionable girls are caught in her orbit, hanging onto her every word and keen to pick up the crumbs she casts their way. But there’s a darker side to Sadie and her intentions towards her new admirers are far from benign. And soon, Kyla and Ruby are neck-deep in the older woman’s world, which is a dark and dangerous place indeed, with little hope of escape.

HOT CHICKS deals with uncomfortable subjects, subjects we’d rather look away from, but thanks to the unique staging we – the audience – can’t. We’re forced to take this journey with the teenage protagonists, along the way sharing every high and feeling every bruise. All this is conveyed via the astonishing performances by the two leads, Izzi McCormack John as Kyla and Londiwe Mthembu as Ruby, who dazzle with those co-existing teenage traits of obnoxiousness and vulnerability. Rachel Redford swings effortlessly from cool swagger to icy malevolence as Sadie, and Richard Elis exudes a natural warmth as the owner of the fried chicken shop where the drama takes place. In the great swirl of all this upheaval and tragedy, he is a voice of reason.

Written by Rebecca Jade Hammond and directed by Hannah Noone, HOT CHICKS is a hugely engaging play; funny, witty, touching and horrifying in equal measure. It opens your eyes, raises your consciousness and plunges you headlong into the lives of people you might not so much have glanced at in the street. It’s become something of cliché to say that this is a play people should be made to see, but it certainly applies here. It’s an elevating experience.

HOT CHICKS is on at the Grand Theatre, Swansea, until April 25.

Theatre

Review, …Earnest?, New Theatre, Cardiff by Bethan England

1 Comment

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!