(4 / 5)
What a glorious day for my first visit to Grosvenor Park Open Air Theatre. Whilst many people were dashing around Chester city centre in search of Pokemon, I ambled along to the city’s park in search of Wonderland. My discovery came in a somewhat fairy tale fashion. Entering through the park gates to see the outline of the theatre, I followed the path around and slowly, emerging from behind the trees, was this towering structure that fitted perfectly with the surrounding landscape. Tucked away in the corner was the marquee entrance. My moment of wonder continued as I wandered in. It was like entering a dream: a popcorn machine, sweets trolley, crafts of miniscule shapes and sizes, decorative displays and signs full of colourful and wispy words. I had certainly found Wonderland. Now I just had to find Alice.
I had arrived a good half an hour before the start time. I took my seat on the picnic terraces and soaked up the atmosphere. It was already half full with excitable children, doting parents and hungry grannies and grandads. People were tucking into strawberries and cream and bags of popcorn. All manner of tasty treats were being drawn from huge hampers (made up for your arrival when you pre-order). They were sipping champagne and clasping coffee cups. Some were slapping on suncream; others adjusting hats and sunglasses. It all felt rather like centre court at Wimbledon.
It was a fabulous build up to the main event. I had already enjoyed myself, and was soaking up what would be the last of the afternoon sun as the play began. I had completely forgotten my search for Alice. Now, there she was. Except there was not just one, but two. First, Anna Leong Brophy appeared as Alicia. Then, Rebecca Birch followed as Alice. Two best friends with similar names and a slightly different take on Lewis Carroll’s famous tale. Glyn Maxwell’s adaptation of Alice in Wonderland sees Alice (Birch) descend down the rabbit hole first. There she meets not only the White Rabbit (Tom Connor) but all the other eccentric characters too. Caterpillar (Jonathan Dryden Taylor) is a science teacher. Humpty Dumpty (Daniel Goode) likes his food a bit too much. The Cheshire Cat (Caolan McCarthy) is suitably clued up on Cheshire history. And, of course, the Mad Hatter (Alex Mugnaioni) is as mad as ever.
In Maxwell’s adaptation, Alice’s journey through Wonderland ends in her becoming the Red Queen. The second half of the play sees a rescue mission of sorts take place. Alicia (Brophy) descends down the rabbit hole in search of Alice. Both their journeys are full of wonderful wordplay and hilarious humour. There is a smorgasbord of accents among the cast of characters which add an extra dimension to their individual personalities. Above all else, the audience interaction is brilliant. It provided an extra layer of enjoyment and laughter. It also drew you into this strange and exciting world. I found myself welling up once or twice as the actors engaged the younger members of the audience. In particular, one little girl (who had come dressed as Alice) was given a high five by Birch on her final exit. I can’t imagine how special that would have made her feel.
The whole cast gave an accomplished performance. The musical ensemble was brilliant and worked well in the absence of technological sound effects. There was one person who caught my eye in particular though. Tom Connor was fabulous in all his guises. His physicality and facial expressions as the White Rabbit and March Hare were a joy to behold. His animated performance added much to his comic value. Even when out of costume and simply part of the ensemble, he was engaging the audience and looked in his element. That natural enjoyment speaks volumes and only adds to the audience satisfaction.
It began to rain towards the final few minutes. It did not dampen the spirits though. This was a fantastic two hours full of fun and frolics. The team behind this production should feel very proud of their achievements. From the exciting entrance to the performance itself, the whole experience immersed you into the weird and wonderful world of Alice in Wonderland. I couldn’t think of a better way to spend a Sunday afternoon.
https://www.storyhouse.com/event/alice-in-wonderland
Category Archives: Theatre
Review Deffro’r Gwanwyn/Spring Awakening by Miriam Elin Jones
This is an English Language review of a production performed in the Welsh Language. You can read the same review in the Welsh Language at the link below.
getthechance.wales/?s=Deffro’r+Gwanwyn
With Love Island such a phenomenon at the moment – with extracts tweeted, worn on t-shirts and discussed in the most unlikely of places – I couldn’t imagine many leaving their nightly fix of, ahem, blatant romps on the reality TV show to attend the theatre. However, last Friday, the Welsh-medium Performance BA students’ version of Deffro’r Gwanwyn (Spring Awakening) was a sell out, and a roaring success.
At first glance – in a world where sex is no longer taboo (and Love Island isn’t the only proof of this) and the American President openly jokes about groping women – I struggled to foresee the impact that a musical discussing sexual repression would have in this day and age. However, masterfully directed by Angharad Lee, the young and talented cast tackled the challenging themes with seeming ease, presenting their own interpretation of Dafydd James’ Welsh-language translation.
The story follows the trials and tribulations of a community of teenagers, their hormones astray and the parents and teachers refusing to acknowledge their passionate emotions and desires. Wendla innocently quizzes her mother about how babies are made and is denied an answer, whilst Moritz is terrified about the strange, recurring sexual dreams that haunt him at night. Both are, according to their parents, led astray by the well-read Melchior, who presents to them a natural, organic truth. All that needs to be said about the plot and its development is that ignorance is not always bliss.
The Gate Centre appeared ironically appropriate for an interpretation of Deffro’r Gwanwyn, for it was once a Presbyterian church, now adapted into a theatre space but still littered with period features. Sitting on old pews – forced to be uncomfortably stiff and sombre during the performance – felt apt, with the ornate pillars suitably shaken to their core by a striking performance.
The set was simple – a set of movable tables and chairs – and it was the use of immensely physical choreography that made the best use of filling the stage. Where there was once a pulpit and a preacher, a band was placed, cemented as the driving force of this angsty musical. In addition, an intense heat filled the auditorium – whether deliberately or not – with everyone, audience and cast members, drenched in sweat by the end of the evening.
Without a shadow of a doubt, a subtle charisma linked every cast member in his or her turn, showcasing their bond as fellow students and co-workers. Due to the very nature of Deffro’r Gwanwyn, each cast member received the chance to shine, even supporting cast. Martha’s (Heledd Roberts) anger is felt, and Lloyd Macey as Otto’s solo was a memorable moment – despite Macey’s physical appearance making him an uncredible schoolboy. It was Jemima Nicholas as Wendla who stole the show, with her poise and posture along with her beautiful voice capturing the innocent and mischievous curiosity of her girlish character. Although she and Josh Morgan as Melchior shared an intense and sizzling chemistry, his speaking and singing voice was often swallowed in the music, and slight technical hitches didn’t help matters either. Watching Siôn Emlyn Parry’s portrayal of Moritz and his declining mental state, I felt goosepimples along both arms, and a chorus of sniffs surrounding me proved his performance had reduced many to tears.
Without a doubt, the striking costumes added to the performance’s success. The previously starched collars and Puritan outfits worn by male characters at the beginning of the musical were shed, replaced by almost sheer dirty-white vests and braces, and a mob mentality as Melchoir is sent away. The girls pranced in baby doll dresses with long stockings both seductive and sweet, with each one appearing delicate, like dolls. All had mascara-stained eyes, a striking touch, with the emotion overcoming each one, especially as the musical progressed. As well as the provocative clothing, the choreography was laden with suggestive, sexual connotations – groping, grabbing and thrusting – and a clear rebellion against the staunch religiousness of the elder generation. The only flaw in the otherwise faultless choreography was that sometimes, backs were turned, and the audience shunned. However, a ready round of applause at the end of almost every song proved that no one took offence.
That evening, not even the biggest Love Island fan would’ve had the chance to regret leaving his or her television set for the night. Deffro’r Gwanwyn’s success was testament to the hard work of each one of the students present, and their lecturers, and although Deffro’r Gwanwyn was the end of one exciting chapter, the beginning of a next one, and promising a prosperous future for the creative industry in Wales, and beyond.
Review: Grease, WMC By Eloise Stingemore
(5 / 5)
The T-Birds and the Pink Ladies are in the building; Grease has arrived at the Millennium Centre! Featuring everyone’s favourite characters – Sandy, Danny, the sassy Pink Ladies and the groovy T-Birds, the whole gang is back together at Rydell High along with all the unforgettable songs of 1978 hit movie. The original high school musical is back and better than ever!
A talented cast comprising of Tom Parker, from the UK’s top boy band The Wanted as tough boy Danny Zuko, Over The Rainbow winner Danielle Hope as Sandy, Strictly Come Dancing’s Louisa Lytton as Rizzo and Jimmy Osmond as Teen Angel. Gave it their all as they transported us back to 1950s high-school America for a tale of true love going off the rails before finally getting back on track.
Director David Gilmore production of this well loved film is truly electrifying; neon signs, fireworks, numerous costume changes, and the car that magically transforms into a glittermobile kept the narrative flowing at a good pace. Whereas from the opening overture, the band that were clearly visible up and behind the stage were on fire, encouraging audience participation as it played through some of the shows big hits. While former Strictly Come Dancing judge, Arlene Philips, toe-tapping choreographer made you want to get out off your seat and hand jive the night away whilst shouting, ‘A-wop-bop-a-loo-bop, a-wop-bam-boom’!
Tom Parker impresses as he makes his musical theatre debut playing Danny and Danielle Hope plays Sandy beautifully. Louisa Lytton made a suitably fierce Rizzo, whereas the arrival of charismatic Jimmy Osmond as Teen Angel in the second half took the show into another stratosphere as it neared its Grease mega mix finale.
Gilmore production of this well loved classic leaves your face aching from smiling and your hands from clapping. Grease is still very much the word!
You have until Saturday 29 July to see the show. Tickets are available online and over the phone by calling 029 2063 6464.
Review, Out of Love, The Roundabout Theatre at Theatr Clwyd by Gareth Williams
(4 / 5)
Jodie Whitaker may be everyone’s new favourite female of the moment but my eye has been drawn to someone less well-known. In my second trip to the Roundabout Theatre in a week, a process of regeneration had seemingly taken place. Having taken my first steps into the pop-up theatre last week for the world premiere of Black Mountain, I had returned seven days later for another debut show. To my surprise (and delight), I found the same three actors from Brad Birch’s play starring again, this time in Out of Love by Elinor Cook. They had undergone a transformation which now saw Sally Messham and Katie Elin-Salt playing best friends Lorna and Grace. Hasan Dixon was now playing a host of male characters, showcasing his talent for versatility. However, it is Elin-Salt who has caught my undivided attention.
In Out of Love, Elin-Salt plays the lovably naïve Grace. Wearing a dungaree dress and plimsoll shoes, there is something eternally childlike about her character. Above all else, I think it is the expressive acting of Elin-Salt that conveys this with such success. She flails about on the floor, swings her legs up and down; her arms are constantly in motion, her shoulders slightly elevated; and her mouth seems to return to the default position of “slight frown” after every piece of dialogue. It is the intimate nature of this round theatre that allows the audience to pick up on such small details. This adds to the quality of the characterisation which, in Elin-Salt’s case, is near perfection.
The retention of her South Walian accent is a stroke of genius. Elin-Salt’s ability to utilise the musicality of her accent in order to convey such contrasting emotions is pure joy to the listening ear. In Black Mountain, she flattens its naturally-high pitch to express a degree of seriousness. In Out of Love, she emphasises it. This gives a comical edge to Grace that increases her likability. It also enables for the exploration of sex and sexuality. Not that this cannot be talked about in a serious way. However, Cook’s decision to examine it from the perspective of two female adolescents makes for a more naturalistic, animated and frank discussion.
There is also a vulnerability to Grace which Elin-Salt beautifully conveys – a deep desire for intimacy that hints at jealousy towards Lorna’s ability to pull men. For the supreme closeness of these two best friends, there is also a hidden tension. It is testament to the quality of Cook’s writing that this unspoken emotion never bursts onto the stage. Instead, it is veiled beneath some rather ambiguous words and actions. Through her performance, Elin-Salt manages to capture this ambiguity perfectly. She peels back the depths of Grace’s heart, ever so slightly, to subtly reveal her concealed motives. She manages to do this so imperceptibly that I could not help but burst with admiration towards the depth of her acting skills.
Out of Love is a suitably complex portrayal of female friendship. Elinor Cook presents an entertaining and engaging narrative featuring two female protagonists over some 20-30 years of their lives. Sally Messham gives an accomplished and controlled performance as Lorna. She does not put a foot wrong and perfectly complements her fellow lead. It is Katie Elin-Salt who wins much of the applause from myself however. Not excluding the above, her natural enthusiasm and depth of imagination make her an infectious talent. She weaves such fine complexity and depth of character into her performance. She is a delight to watch. She also makes a strong case for championing a great deal more female-led narratives. This is one reason to be excited at Whitaker’s casting. But whilst I await her arrival as the 13th Doctor, I shall revel in the discovery of another talented actress. Katie Elin-Salt is, surely, a major talent in waiting.
A Theatr Clwyd, Paines Plough & Orange Tree Theatre co-production | Directed by James Grieve
https://www.theatrclwyd.com/en/whats-on/out-of-love/
Review: Many Man, Spilt Milk by Helen Joy
(4 / 5)
What an interesting evening! Enjoyable company, a suitably fringe-y venue complete with glitter ball and gold chairs and wine in a plastic goblet in the attics of a Cardiff bar and I’m happy. Nice bit of chatter in the foyer before and after and much to chat about. A very welcoming experience.
And Many Man begins. His little stage reminds me of someone moving house, just leaving, just arriving, in boxes, in transit. He is in our faces and alone. He is a comic, a stand-up, a young man telling us the ordinary story of his younger life and he makes us laugh.
The audience is mostly young men. I could be his mother. Their mother. I could be the woman in the kitchen of his past making chicken dinner on a Sunday. I could be the youngster bored with the comfort of the repetition of a safe and ordinary life. We all connect with something in his history and it is safe to laugh. But we know something is amiss. We glimpse his torture and we wait.
There are no breaks, no let up. We are strapped to our seats and braced for the ride. He is a phoney, a liar, a conman. He is an American, a Scot, a Welshman. He loses more than he gains in his efforts to be extra ordinary: to get the girl, to keep the girl, to love the girl and to love himself. It is not funny; it is tragic. And we are awkward in our responses. I can see people reaching for their drinks, looking away, no longer smiling but embarrassed, caught out.
It is a story of self-loathing. It is a breakdown. It is La Voix Humane and Many Man is singing his heart out through the window of the stage. For him, it is a long hour. It is a cleverly sculpted piece, still rough, still forming; hard and physical.
The church bells of St John’s ring in practice session and lend a certain resonating presence to the tale. I am not sure we like this man, this me.
Cast & Crew
Tobias Weatherburn – Writer, Performer
Becca Lidstone – Director
Company Spilt Milk
http://community.nationaltheatrewales.org/profile/SpiltMilkTheatre
Reviewer Helen Joy for Get the Chance
Where The Big Top, Church Street, Cardiff
When July 20th, 2017; 1930 – 2040h
http://www.cardifffringetheatrefestival.co.uk/events-list/2017/7/20/many-man
Review National Theatre Live: Angels in America by Danielle O’Shea
(5 / 5)
Survival is central to the first part of Tony Kushner’s “Angels in America”. This can be seen in the consideration of the fight to survive illness and addiction but also by asking how far you would go to make a relationship survive or to survive oppression. As well as survival, themes of morality, religion and politics remain essential to the play and are used as tools for character development.
As mentioned in the pre-show interview with its director, Marianne Elliott, the play moves from domesticity to magical realism due to the hallucinations experienced by several of the characters which become more overwhelming as the play progresses.
Rooted in 1985 New York during the AIDS epidemic, the harsh reality of each character’s situation is evident and is kept in mind through the use of three side-by-side mini sets so even as the play moves from one character to another, their set remains darkened but still visible. The neon lights bordering each set give an almost magical aura but initially act as barriers between characters before falling away and allowing characters to cross them.
The entire cast give incredible performances that portray characters vividly and in a way so that no matter their moral or political stance the audience still builds a connection with them. However two actors in particular captivate the audience, Denise Gough as Harper Pitt, a Valium addicted Mormon housewife, and Andrew Garfield as Prior Walter, a charismatic AIDS sufferer. Both characters act as bridges between fantasy and reality and their one scene together was charming and captured the attention and imagination of the entire audience.
As a whole, Angels in America is a stunning political portrait that remains extremely relevant today due to its discussions of American politics and the changing identity of America. It is an emotional roller-coaster that will keep you on the edge of your seat and I will definitely be seeing the second part.
National Theatre Live: Angels in America
Part 1:Millennium Approaches
20th July 2017
Gwyn Hall, Neath
Running time: 3 hours 40 minutes with two 15-minute intervals
Author: Tony Kushner
Director: Marianne Elliott
Design: Ian MacNeil (Set Designer), Nicky Gillibrand (Costume Designer), Paule Constable(Lighting Designer), Robby Graham (Choreographer and Movement), Adrian Sutton (Music), Ian Dickinson (Sound Designer), Finn Caldwell (Puppetry Director and Movement), Finn Caldwell and Nick Barnes (Puppet Designers), Chris Fisher (Illusions), Gwen Hales (Aerial Director), Harry Mackrill (Associate Director), Miranda Cromwell (Staff Director)
Cast: Susan Brown, Andrew Garfield, Denise Gough, Nathan Lane, Amanda Lawrence, James McArdle, Nathan Stewart-Jarrett, Russell Tovey, Stuart Angell, Laura Caldow, Claire Lambert, Becky Namgauds, Stan West, Lewis Wilkins
Review: Stories For The Silver Tree by Sian Thomas
The Cardiff Fringe Theatre Festival has been the host of three events (this included) that I’ve been to recently, and each of them have all been astoundingly wonderful. Though the festival ends tomorrow, I look forward to its (hopeful) return. I hope it does return, I very sincerely do. I’ve had an incredible time, and seen some doubly incredible things.
Stories For The Silver Tree was one of these incredible things. I went in totally blind (I knew there was a trailer but elected not to watch it – I’ve always liked to go into theatre blind, I’ve found it makes me more open to plots and characters if I don’t look them up first).
The concept of this showing was amazing. I thought it was going to be a play. Like, a traditional, people-play-the-characters play. But it wasn’t. And I think it was better.
Instead of this, it was Tamar Williams and Darius Nash narrating and telling the audience (and singing, too – which was really good and something I enjoyed very much) the story of the main character (Bran). They also used clever sound technology which I’ve never heard of or probably could understand the mechanics of but, at face-value (which is how I tend to take things): It was very impressive and amazing. Using sounds from the audience or from props put on a loop right there and then during the performance to put more depth into a scene is something I’ve not seen before – and I loved it so much. Although, at the mention of audience participation, I did get nervous – but it turned out brilliantly.
The story was also so atmospheric. From the brainy sound tech, yes, but from the writing and the deliverance, I think for the last few hours I’ve been somewhere else; lost in pretty words and lovely scenery up in my head. That’s irreplaceable to me. I love and have always loved things that can make me feel like this. One phrase that stuck out to me was, “the turquoise of evening and the navy of night”. These words just fit together so nicely, and they were delivered so wonderfully (that made me remember them! Although I’m not sure I’ve got the direct quote right) that it made my experience of Bran’s story so much more meaningful.
I don’t know! It was very cute. And folk-y. And magical. And I just loved that all of that was wrapped up together and given to me as an innovative story, rather than a traditional play.
Although the festival ends tomorrow, and I am sad to watch it go, as today was my last day to experience it, there is another showing of Stories For The Silver Tree tomorrow, which I wholeheartedly recommend seeing! http://www.cardifffringetheatrefestival.co.uk/events-list/2017/7/22/stories-for-the-silver-tree. Which is why I gave it 5 stars! It was delightful.
Also, more could be found at the Twitter pages of the performers: https://twitter.com/darius_nash , https://twitter.com/tamareluned.
Chippy And Scratch Does the Diff- Chippy Lane Productions
Chippy And Scratch Does the Diff
Following their sell-out night at the London Welsh Centre last month, Chippy Lane Productions brought (half) their 2017 scratch night home to the ‘Diff. Following an audience vote on the night 4 of the 8 pieces were selected for performance in Chapter.
As these are works in progress this isn’t a strict review, but a chance to reflect on the pieces presented and share some comments on these great new writers as well as the talented young directors and actors.
You Gotta Go There to Come Back – Poppy Corbett
The story of the Welsh girl desperate to leave Wales- and the slim pickings of Metros – definitely struck a chord with most of the room, both in London and back in Cardiff. We’ve all heard the same Welsh jokes when living and working over the border, and we’ve all felt the push and pull of family, opportunity and the big question of ‘what if?’ that lies with leaving where you’re from. Filled with references that anyone who grew up in South Wales will certainly recognise but also full of heart and a universal story about leaving behind the familiar. The ten minute extract of Corbett’s longer piece was brilliantly funny- particularly thanks to Michelle Luther’s energetic engaging performance- but also highly poignant and touching. The story of the conflict between roots and dreams, about the importance of where we come from but our own independence is one that will resonate with audiences universally, however the ‘home touches’ of growing up Welsh gave it a particularly poignant feel. More importantly Catrin is a character a lot of women will identify with, and giving voices to women’s stories and women’s experiences on stage is a vital one. Corbett has a real voice for capturing that experience and it’s one that should be heard.
Tiny Mad Animals- Neil Bebber
Any story that combines a debate about lasers with tea drinking is worth anybody’s time. Neil Bebber has also managed to come up with the greatest description of children with that title. ‘Tiny Mad Animals’ sees a pair of old friends and flatmates reflecting on past and future as one of them prepares to move in with his girlfriend. There’s an easy but witty dialogue between the two characters and it’s easy to imagine their long friendship (and nights spent stoned, chasing each other around the flat talking about lasers). But there’s also a real sweetness to their story, and a sensitivity with which Bebber’s writing addresses their feelings for one another. It’s a piece that really left a question mark over what might happen next.
Outside Blisters- Ruth Majeed
Blisters of the title is a nightclub in Bargoed, and this piece forms part of several short plays Majeed is putting together to reflect contemporary Valley’s life. Anyone who has lived or worked in that part of the world will immediately feel like they know these characters. And even if you’re a generation or two apart from the selfie-taking e-cigarette smoking girls in the play, their world is still familiar. It’s a great take on contemporary life, the language the girls speak in is pitch perfect Valleys and really brings the vibrancy of their world to life. It’s a genuinely funny but also very real slice of life and shows how a simple moment- three girl having a smoke outside a club, can be a real window into so much more. Again these are voices we hear rarely- both women, and women from working-class backgrounds, outside major cities. Majeed in this extract and her wider piece is bringing these stories to audiences, and showing both the uniqueness of that particular slice of life, and the universal elements of their stories. At the same time it’s a brilliantly funny piece of writing that will have most audiences either saying ‘I know that girl’ or ‘I am that girl’.
Cardiff Boy- Kevin Jones
If ‘Outside Blisters’ captures a slice of the current generation, ‘Cardiff Boy’ spoke to another generation in the room- the 90s kids. No sooner had R Kelly blasted out while Jack Hammett described a night out in Lloyds, than every person of a particular age could smell 90s Cardiff in an instant. The clever use of musical cues to divide up aspects of the story, as well as the nostalgia they induce was a great framing device for this look back at life growing up in Cardiff. Nostalgia aside it felt like there was a lot to say about Cardiff in the 90s through the eyes of a young working-class man. Not just the wider stories of the city shaping him, but the challenges and struggles within in that time from teenager to adult. Hammatt brought to life a fascinating slice of life in the short extract. A combination of detailed knowledge of the subject- niche references to Cardiff itself but a broader sense of working class life for teenagers in the 90s, makes this a great piece for locals and others alike. Underneath the music and the nostalgia there’s also an important story of masculinity, working class life and growing up that is an important and interesting story to explore. Jack Hammett brought to life the story with engaging and endearing charm and it’s a play and a performance that hopefully will continue to grow.
Following the success of the 2017 London scratch night, these 4 pieces were a brilliant ‘homecoming’ for Chippy Lane productions. Their support of new writers in the short time they’ve been a company (just 16 months) is a marker of commitment to supporting new artists in Wales, and these scratch nights have been a great opporturnity to see that work both in London and on ‘home’ turf.
Chipppy Lane Productions can be found at:
@chippylanprod
www.chippylaneproductions.co.uk
An interview with Catherine Paskell, Artistic Director, Dirty Protest.
Hi pleased to meet you. Can you please give our readers some background information on yourself and your role in the arts in Wales?
I’m Catherine and I’m the Artistic Director of new writing company Dirty Protest. I’m directing SUGAR BABY by Alan Harris, which Dirty Protest is taking to Paines Plough’s ROUNDABOUT @ Summerhall venue with Wales in Edinburgh this summer. I was a founding creative associate of National Theatre Wales – it was this opportunity that brought me back to Wales. I love what I do and connecting to people with theatre making in Wales.
https://edinburghfestival.list.co.uk/event/778434-sugar-baby/
Can you tell us about the work your company is taking to this Edinburgh Festival Fringe?
SUGAR BABY is a new one-man comedy drama, about a young lad from Fairwater, in Cardiff, called Marc. Marc is trying to borrow £6,000 from a local loan shark, help out his old man, save a girl and survive the day. It’s very funny. Alan’s got an exceptional voice for these Welsh characters, the stories and details pull you in, and you are rooting for Marc the whole way. The cast is one man: Alex Griffin-Griffiths, he’s a graduate of RWCMD and he’s brilliant. It’s a lot of fun to work on together and we are previewing the play in Chapter at the end of July. Chapter are fantastic supporters, their help means that anyone who can’t make it to see the show in Edinburgh can come and see the previews in Cardiff, and help us to develop the play before we head up.
How is work selected to go to the festival?
We want to showcase the best of Welsh new writing, from a writer living in Wales. Alan’s writing is exceptional, and we wanted a play that was uniquely Welsh but that wasn’t stereotypical in its exploration of a lived Welsh life. We chose Sugar Baby because it’s authentic, and an antidote to all the poverty porn plays and TV programmes that we have seen lately. Sugar Baby is a Welsh play at an international-looking Fringe Festival, and will stand alongside some of the best theatre in the world.
Wales Arts International who have funded some of the companies this year state,
“The idea is to help the selected Welsh companies to present their work at the Fringe in the best possible way – with the best conditions – and, importantly, to connect with international promoters and programmers participating in the British Council Edinburgh Showcase.”
Why is their support important along with Arts Council Wales and British Council Wales?
We couldn’t go to Edinburgh without this support. It’s vital for our company growth and to get the best new writing out of Wales. We took Dirty Protest’s production of LAST CHRISTMAS by Matthew Bulgo to Edinburgh Festival Fringe in 2014, supported with Wales in Edinburgh funding. That whole experience was very successful for Dirty Protest. Producers, theatre programmers and promoters from across the world came to see our play and booked it for their venues. We produced LAST CHRISTMAS in the Soho Theatre in London and the Traverse Theatre in Edinburgh. We also had many more conversations about other projects, that are now starting to come to fruition. This happened with the support of Wales in Edinburgh. Dirty Protest is a project-funded company, and usually the grants we receive only allow a maximum 15% of a project to happen outside Wales. For us to build our company, we have to stand on a more prominent stage. It’s difficult to get reviewers and promoters outside Wales to see our work when we perform at home. Going to such a high-profile festival as Edinburgh Fringe has benefits for us, for the artists making work here and for the promotion of Wales’ arts.
The festival features a huge range of productions and there is great deal of competition for audiences, why should audiences come and see your companies work?
It’s a proper laugh – you’ll leave and have had a really good time for less than an hour, so you’ll have loads of time to walk to your next show without having to rush! SUGAR BABY is part of an incredible programme in an amazing venue. There’s something really exciting about being in that environment, watching an excellent actor as you are pulled along this funny and edgy Cardiff story. All that matters is the writing, acting and the relationship between performer and audience. It’s the ultimate live event!
Welsh artists/Companies will be showcasing a range of art forms including theatre, new writing, site-specific work and contemporary dance. In your opinion is there anything that is distinctly Welsh which links them?
What links the artists and companies is a distinct camaraderie. We are a collective who are representing Wales and are proud of presenting our world-class work together. We are all there to help each other out, to bring each other up, and that is something special about the Welsh arts scene. The diversity of art form in the WIE showcase shows that this community belongs to everyone, whether they are into well-made new plays, live art, contemporary dance, reimagined classics – and this needs to be reflected not just in Edinburgh, but in Wales throughout the rest of the year.
What would you recommend seeing from the other Welsh/Wales based companies going to this year’s festival or perhaps the festival as a whole?
I loved F.E.A.R., the one-man show created by Mr and Mrs Clark and performed by Gareth Clark when I saw it earlier this year. I don’t want to spoil it for anyone who’s going to see it, but there are so many joyful and beautiful and thought provoking moments in the performance. I’ve heard a lot about Revlon Girl, the cast are awesome and I have a huge love for Pontardawe Arts Centre, so I’ll be seeing that. I thought A Regular Little Houdini was great at the Fringe, so I want to see Flying Bridge and Daniel Llewellyn-Willians’ next show, Not About Heroes. I can’t wait to see Seagulls, especially because Volcano who are making it have a whole venue in Leith we can hang out in! I haven’t yet seen all the shows this year, so I’m looking forward to seeing all the productions in the WIE showcase. For the festival as a whole, I’m mainly looking for new, young companies, actors, playwrights and comedy writers. Every year at the Fringe, I discover artists who I know I’ll be looking out for in the years to come. This year, I’ll be checking out FRED AND ROSE in Venue 13. The show is by a group of USW Atrium drama graduates, who are going to Edinburgh for the first time and it looks great contemporary theatre piece. I’ll be watching a lot of comedy too. I’m excited by Tom Neenan’s ATTENBOROUGH, Tom’s a great character comic. His show last year was a about a haunted old vaudeville theatre and it was great comedy storytelling. And who doesn’t love David Attenborough?! Also, the brilliant Jordan Brookes’ newest comedy show on the Free Fringe is him talking about his nan; last year, I saw him re-enact his own birth. This guy is surreal and excellent. And if you missed it last year, my favourite show of the Fringe in 2016 was the Free Fringe comedy, Richard Gadd’s Monkey See Monkey Do. It was exceptionally funny but also hugely brave and just incredible. The show won the Edinburgh Comedy Award last year and is back, this time at Summerhall, just for a limited run.
What do the artists and companies do when they aren’t performing?
We watch other artists’ shows, we see people we haven’t seen since last year, we support each other and meet promoters and venue programmers to get the show on again after the Fringe. Edinburgh is a bit of a bubble, so you try and maintain some perspective and remember there is a world outside the city. I always go to the art galleries and museums in Edinburgh because they are chilled spaces with wonderful exhibitions during August. They open my mind and give me space away from the buzz of the festival. Last year, I went to the Harry Benson photography exhibition in the Scottish Parliament and was in there for 4 hours.
What’s the best Fringe show you’ve ever seen?
I’ve visited the Fringe, as an artist and a punter every year except one for the past 17 years. The Fringe show that sticks with me through that whole time is VICTORY AT THE DIRT PALACE by Adriano Shaplin and the American theatre company, the Riot Group. I saw it in 2002. It was an intense, satirical play, in a tiny performance space that wasn’t one of the big commercial venues. It was about the post-September ’11 American mindset. 9/11 had only happened less than a year ago; the writing was sharp, funny and urgent. The details acutely observed. The ensemble of four were witty and clear. As an emerging artist, about to leave the UK for training in America, I knew that was theatre I aspired to make.
Thanks for your time Catherine.
Adolygiad: Deffro’r Gwanwyn, (The Gate/Canolfan Berfformio Cymru) gan Miriam Elin Jones
Yn ddiweddar, mae’n bur anodd credu – gyda phob sgwrs yn bob man yn troi o’i amgylch – bod unrhyw un yn gallu gadael eu ffics nosweithiol o Love Island a dianc i’r theatr. Fodd bynnag, nos Wener ddiwethaf, llenwyd seti The Gate gan gynulleidfa yn mynychu perfformiad olaf myfyrwyr BA Perfformio Prifysgol y Drindod Dewi Sant, Deffro’r Gwanwyn.
Mewn oes lle nad oes yna’r un weithred rywiol yn dabŵ a cham-drin rhywiol yn jôc ar enau Arlywydd America, pendronais sut ymateb byddai gan sioe gerdd yn trin a thrafod gormes rhywiol a chulni crefyddol? Dan arweiniad y gyfarwyddwraig Angharad Lee, aeth y cast talentog ati i daclo themâu heriol y ddrama, gan osod eu stamp eu hunain ar gyfieithiad medrus Dafydd James.
Dilyna stori’r ddrama hynt a helynt cymuned o laslanciau a glaslancesi, eu hormonau’n rhemp a’r rhieni ac athrawon o’u hamgylch yn gwrthod cydnabod eu teimladau na’u dyheadau nwydus. Cyflwynir Wendla a Moritz – y naill methu deall o ble ddaw babis a’r llall â pharchedig ofn ei freuddwydion melys gyda’r nos – a Melchior y rebel sy’n eu harwain ar gyfeiliorn, yn pwysleisio normalrwydd eu dyheadau. Heb draethu rhyw ormod am y plot, dysgir yn fuan iawn nad melys pob anwybod wedi’r cwbl.
Roedd awyrgylch Canolfan The Gate yn gweddu’n rhyfeddol i’r sioe gerdd arbennig hon. Mewn hen eglwys Bresbyteraidd wedi ei haddasu’n theatr, gosodwyd set syml ond symudol – pedwar bwrdd a stolion – a llenwyd y gofod gyda pherfformiadau a choreograffi egnïol. Wrth fynd i eistedd ar un o’r meinciau pren (a brofodd yn briodol o anghyfforddus) roedd yr actorion yn chwarae plant yn ddiniwed braf ar lawr. O’n hamgylch, roedd pileri addurniadol yn britho’r lle, rhai ag ysgydwyd i’w craidd yn ystod rhai o uchafbwyntiau dramatig y cynhyrchiad, ac yn lle pregethwr mewn pwlpid, gosodwyd y band, wedi’i godi i le haeddiannol ar dir uwch. Er ehangder yr ystafell, roedd hi’n eithriadol o gynnes, ac o ystyried gwres y caru tanbaid sy’n rhan mor ganolog o’r sioe, bosib bod hynny’n fwriadol – ond roeddwn ni’r gynulleidfa a’r cast i gyd yn chwys drabwd erbyn diwedd y sioe.
Heb os, roedd carisma cynnil rhwng bob un o’r cast yn dystiolaeth i’w hagosatrwydd a’r cyd-weithio cyson sydd wedi bod yn rhan mor greiddiol o’u cwrs. Golyga natur y sioe bod pob un yn cael cyfle i fynnu llwyfan, a nifer o’r cymeriadau ymylol yn cael cyfle i gamu i’r goleuni. Roedd dicter Martha (Heledd Roberts) i’w deimlo a solo Lloyd Macey fel Otto (serch lletchwithdod ei daldra’n golygu nad oedd yn argyhoeddi fel disgybl ysgol) yn un i’w chofio. O ran y prif gymeriadau, roedd Jemima Nicholas fel Wendla yn serennu, gyda’i holl osgo a’i llais yn efelychu chwilfrydedd diniwed a drygioni merchetaidd ei chymeriad drwyddi draw. Er bod Josh Morgan fel Melchior a hithau yn argyhoeddi fel cariadon ifanc, tueddai i’w lais ef foddi dan sŵn y gerddoriaeth, ac nid oedd mân broblemau technegol o ran y sain yn hwyluso pethau iddo chwaith. Yn goron ar y perfformiadau oll, roedd ymdriniaeth Siôn Emlyn Parry o gymeriad Moritz – yn enwedig ar ddechrau’r Ail Act. Llwyddodd i yrru ias i lawr fy nghefn wrth i’w wewyr meddwl ddatblygu’n raddol, gan ddenu’r dagrau yn ystod ei olygfa olaf.
Wrth i’r ddrama fynd yn ei blaen, diosgwyd siacedi stiff a choleri hirion, Piwritanaidd y llanciau, ond aros gwnaeth y mascara wedi staenio’n drwch dros eu llygaid. Pranciai’r merched ar hyd y llwyfan yn ei ffrogiau llac, gyda’u sanau hirion yn sidet ond yn seductive ar yr un pryd, pob un yn ddoli fregus, hyd yn oed Isle herfeiddiol (Lleucu Gwawr) wrth geisio hudo Moritz. Ynghyd â’r gwisgoedd, gwnaethpwyd yn siŵr fod y llwyfan wrth i’r coreograffi’n ferw o weithgareddau rhywiol, awgrymog gyfleu’r byd newydd y deisyfa’r cymeriadau. Yr unig fai oedd i’r coreograffi ar adegau olygu bod y perfformwyr yn troi cefn ar eu cynulleidfa yn ystod y sioe. Fodd bynnag, ni phechwyd yr un ohonom. Roedd cymeradwyaeth parod wrth gwt y rhan fwyaf o’r caneuon yn dyst i’n mwynhad o’r sioe.
Gyda’r gynulleidfa gyfan ar ei thraed ar ddiwedd y perfformiad, gallaf ddatgan yn bendant na chafodd neb gyfle i ddifaru colli pennod nos Wener o Love Island yn ystod Deffro’r Gwanwyn. Er mai noson olaf eu cwrs dwy flynedd oedd y cynhyrchiad egniol hwn, dyma godi’r llen ar yrfaoedd disglair i nifer o’r cast, sy’n argyhoeddi’n gyffrous iawn i’r diwydiant theatr yng Nghymru, a thu hwnt.