Category Archives: Theatre

Music, Theatre

An Interview with Christopher J Orton.

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Christopher J Orton

Director of Get the Chance Guy O’Donnell recently spoke to Newport born, writer, musician and West End star Christopher J Orton. Chris talked about training opportunities, his career to date, barriers in the arts and his new musical ‘My Land’s Shore.’
Hi Chris great to meet you, can you give our readers some background information on yourself please?
Hi Guy, great to meet you too. I was born and raised here in Wales. After finishing school I moved away for a while to study and work but now I’m back. When I left school I studied opera in Manchester and then musical theatre in London. After that I was working as a professional actor. I’m a musician too and a lot of the productions I have been involved in I have played violin, piano and guitar as well as acted and sung. I also do a lot of writing. I write plays, musicals, songs, novels. I have also set up a vocal group called The FlyBoys that I sing in and manage. We perform all over the world. I have semi-retired from acting now to concentrate on the various projects I have been putting off for years! I also, weirdly, invent and make board games.

The FlyBoys

You are from Newport and have worked on an amazing range of productions. Do you have any advice for any of our readers interested in following your career path?
My advice would be to get a thick skin. As thick as possible. And don’t become bitter. Anyone wanting to enter the competitive world of theatre will face more rejection than success. And it’s easy to become disheartened and embittered. You have to stay strong. And always have other things going on. Don’t sacrifice a social life for success and whenever you can, try to create your own work. Keep yourself motivated, learn an instrument or a new language, anything to help you achieve your goals.
When you are involved in a big West End musical what does your normal day usually entail?
It’s not particularly glamorous! After the excitement of rehearsals and opening night it starts to feel more like a job. Depending on where you live in London it can take a while to get into the centre of town so you are preparing to set off around 3pm. It’s easy to fall into the habit of getting up late because of the late finishes but if you can get out of that habit and get up early then the day is there to do whatever you wish with! I used to write music or paint or make my games. I have a reputation for not being able to relax and sit still so I’d be up to all-sorts! Once you are at the theatre you have a warm up with the rest of the cast and then the show. And then you’re running for the train so you can get home as quickly as possible!

Christopher playing Tom Jones

You have played the role of Tom Jones in Tom the musical I wonder if you can tell us some more about this production?
The production of TOM holds a very special place in my heart and my career. It was developed and produced by Theatr Na Nog, directed by the lovely Geinor Styles. It was an amazing piece of theatre. More a play with music than a musical though. The show concentrates on the early years of Tom Jones, before he was famous. It’s about the young Tom striving for success and how it affects his relationship with his wife, Linda. The music in the show was all played live by a very talented bunch of lads who were also amazing actors. It focused on his time with his band, The Senators. He used to cover numbers by Ray Charles, Jerry Lee Lewis, Elvis etc so it was incredibly exciting to perform live every night. It was like a rock concert! It was the hardest and best thing I have done in my performing career. It’s also the reason I don’t really act anymore…there aren’t any roles out there at the moment that excite me as much as that role did.

You are currently involved in a very exciting new musical called ‘My Land’s Shore’ can you please tell us more about his production?
My Land’s Shore is a musical I have written with Robert Gould. He has written the book and lyrics and I have written the music and lyrics. It’s fair to describe it as my life’s work. I started writing it 16 years ago. It tells the true story of Dic Penderyn and his involvement in the Merthyr riots of 1831. He became the first martyr for the Welsh working class and is a symbol of hope and rebellion against the establishment. It has been described as the Welsh Les Mis. At the moment it is in rehearsals for it’s world premiere in London. It is being produced by an off West End theatre company called All Star Productions. A lot of people have asked me why it isn’t being premiered in Wales. The sad answer is we tried for years to get funding and support in Wales but there just isn’t the support for a Welsh piece of theatre, about Wales, and written by two Welshmen!! Baffling! If anyone would like to come and see it in London it runs from Feb 7th – 26th at Ye Olde Rose & Crown Theatre Pub in Walthamstow. More information is available at www.mylandsshoremusical.com.
You have a great deal of experience in musical theatre. Do you think this performance form still resonates for audiences and why?
I think musical theatre will always resonate with people. Music is a fantastic way into people’s hearts and sometimes words just aren’t enough. More and more people are being drawn towards it every year. And every year it becomes more and more accessible as genres evolve.
Get the Chance works to support a diverse range of members of the public to access cultural provision Are you aware of any barriers to equality and diversity for either Welsh or Wales based artists?
I can only speak for myself and my own experience within this industry but I found a huge barrier was placed in front of us by the Wales Millennium Centre in Cardiff. It is supposed to be a centre for the arts that caters for all audiences and nurtures new and emerging Welsh talent. Sadly, I have found it to be completely inaccessible and incredibly blinkered.
If you were able to fund an area of the arts in Wales what would this be and why?
I would fund new talent, whether it be writers, composers, performers, choreographers, whoever and whatever. I would listen to ideas and explore them. It’s a sad state of affairs when the people holding the purse aren’t necessarily creatively minded. Just think of everything we are missing because the same people are getting the same chances over and over again. It’s a very closed shop at the moment. I would fund the opening up of that closed shop!
Thanks for your time Chris and good luck with My Land’s Shore.

Dance, Music, Musical, Theatre

Review : Michael Flatley’s ‘Lord Of The Dance: Dangerous Games’ by James Briggs

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out of 5 stars (5 / 5)
This weekend Cardiff has had the luck of the Irish as Michael  Flatley’s worldwide phenomenon  ‘Lord of the Dance: Dangerous Games’ has played in St David’s Hall. The tour is one of the biggest the UK has ever had and has currently been seen by 60 million people in 60 different countries on every continent. All of the stops are pulled out in this Irish Dancing Extravaganza with dancing that is simply mesmerising.
I have been looking forward to watching this show for a long time and being a tap dancer myself can appreciate the hard work and effort that goes into this form of dancing. I knew from the opening sequence alone we would be in for a good night. As the first half of the show begins the audience are greeted with a projected Michael Flatley and a giant clock alluding to the opening of the show.
The cast are very well cast and all of the characters within the show work well as a dance unit. The perfectly balanced ensemble of male and female dancers help to give depth to the story and in the dance sequences when they are all in a line and coordinated it really is something to admire. Their collective talent is unbelievable and there are moments where your jaw is in your lap watching their feet move almost as too fast to comprehend.  The  main lead Lord of the Dance was played by James Keegan and the Dark Lord was played by Zoltan Papp.
The show seemed to have a variety show feel to it with all of the acts being very diverse. They all managed to hold attention of the audience due to their frequent costume changes and the cleaver projections that portrayed Ireland as an Idyllic place filled with Unicorns and rainbows. The plot follows a little Spirit with a magic flute who battles against evil to save Ireland from being taken over by evil cyborgs. Along the way the Spirit meets different dancers as well as a Black Swan like love triangle that threatens to turn the head of Ireland’s saviour, the Lord of the Dance himself. The show culminates with a big fight for the title of Lord of the Dance.

You can’t help but have a big smile on your face when the full ensemble cast fill the width of the stage at St David’s Hall and with their legs kicking and tapping in perfect sync. The show’s best section and what will always be their most iconic is the ‘Lord of the Dance’, and the skill of the cast is amazing in which they gave four Encores at the end of the show of that very dance which was met with a standing ovation from the whole audience at St David’s Hall.
If you’re a fan of this type of dancing and the Irish music and culture this show is without a doubt the show for you to attend next. It provides a 5-star evening of entertainment with lots of ups and downs within the story. In my opinion this show is something everyone should experience once in their lifetime as it will enthral you.

For more information about the tour of the Lord of the Dance please visit the official website to see where the tour will be heading next. http://www.lordofthedance.com/

Theatre, Uncategorized

Review : Wish List, The Royal Court by Hannah Goslin

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out of 5 stars (4 / 5)

The Royal Court never ceases to amaze. Priding itself in great original writing, I keep expecting to come and not enjoy myself. Willing there to be something that I come away and not like, or be slightly unenthused with. But it never happens. And I am so glad it never happens.

Wish List a coproduction with Royal Court Theatre/Royal Exchange Theatre and written by Katherine Soper, (Winner of the 2015 Bruntwood Prize for Playwriting) has a very inventive but minimal set. A conveyor belt that comes down from the ceiling and parts that are moveable around the stage, basing much of itself as a prop in the house which evidently is always on stage also, situated at the far end. A basic shower unit and kitchen, this is a basic home for a brother and sister duo that are far from simple.

Tamsin (played by Erin Doherty) and Dean (Joseph Quinn) are troubled siblings with a troubled past. Evident in his continual repetitive movements, the pair are struggling to meet ends with Dean’s incapability of working due to his OCD disability and Tamsin’s lack of time to work with helping him each day. Through the course of 1 hour and 40mins, we see them both grow together as people and as siblings, coping with one another’s issues and developments.

Our other characters are Luke (Shaquille Ali-Yebuah) and Tamsin’s new boss (Aleksandar Mikic) fit like a glove into the narrative. Each character has its own presence on stage and the performers do well to make them so different from one another.

Quinn has the uneasy job of making his ticks and repetitive gestures seem realistic; to show his uneasy sense around even his sister and problem with being touched. It is so naturalistic and probable that I felt myself wondering if he was even acting. But the real challenge lies on Doherty. She is not void of problems herself and is evidently an anxious, nervous, problematic person in herself while also being strong for her brother. She is so incredible with this that again, I struggled to not fall into the imaginative of the piece, which felt as if someone had taken away the window to this pair’s life.

Wish List from its set to the performers to the writing is nothing less than extraordinary and so perfect that one feels like an intruder into the private.

Wish List

Theatre

Review : A Regular little Houdini by Beth Clark

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out of 5 stars (5 / 5)
 
An exciting and turbulent story of a boy who is born in Wales but comes from Irish decent. He is part of a large working class family who all live under one roof.
Set in the heart of Newport’s South Wales’ busting docks, the actor Daniel Llewelyn-Williams; impressively also the writer of the play gets your full attention from the out by representing a real, personal and historical account of how things were back then. An imaginative and determined boy who displays extreme courage whilst being subject to one of the many catastrophic occurrences which unfortunately happened during the British industrial revolution.
Harry Houdini; very famous of the times was a direct influence and inspiration to the boy promoting a hopeful and escaping duality for him. When some aspects of the boy’s life have been shattered another aspect or dream is materialised. Quirky and fun-loving, the boy’s relationship with Gammy as well as his dad, sisters and friend is something that brings a warming feel to the boy’s character and overall feel of the play.
Daniel played the one man show so intriguingly, it was like he was telling the story as his own and I wondered if this was in fact a real story from his family’s history. Who knows? Honestly, it was that good it certainly felt real and I would strongly advise anyone to go and see the play regardless of a specific style of play you might like, as I believe this play ticks all the boxes. There was absolutely no time whatsoever in that hour that I thought of anything other than the play, the characters or their feelings and perspectives. The actor was completely captivating and with reference to lots of welsh-ness, I found it relatable and moving but not only because I am Welsh as I believe anyone will feel this way. Even though the play does have heartache, the joy it brings overpowers that completely making it a pleasure to watch. The fact that you are drawn to other characters in the story with only one actor representing all characters is infatuating for the audience. It was directed, written, composed and performed to a such a high and entertaining standard that I would absolutely go and view it for a second time.
In my eyes when you can hold an audience with just one man and a box to that standard you are winning in life. Well done Daniel Llewelyn-Williams you smashed it!
A Regular little Houdini
Produced by Flying Bridge Theatre Ltd
Written and performed by Daniel Llewelyn-Williams
Directed by Joshua Richards
Music by Meg C

Music, Theatre

Review : The Moot Virginity of Catherine of Aragon by Beth Clark

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out of 5 stars (4 / 5)
Conor Mitchell, associate artist at Sherman Theatre and fronting the Belfast Ensemble has enlightened us with his creation as writer, director and composer of the chilling play The Moot Virginity of Catherine of Aragon.
The role of Catherine of Aragon is flawlessly performed by the award-winning actress Abigail McGibbon also part of the Belfast Ensemble creating the perfect duet between music, theatre and emotion. The play is a live concept album, each scene created resembles a live music track combined with performance; a powerful voice (without singing) and action! The way in which it was performed was beautiful.
What made this play so great? I felt as though I was inside the head of Catherine at times, a very tormented and religious woman grasping at straws when her reality as Queen is taken from her. The play takes us through her memories, through history, through war, the good times and the bad and of course the biggest divide in country, known to date.
When you walk into the theatre there is a strong smell and this sets the scene. The lighting, the costume and the make-up together with absolute discipline in role give Catherine a haggard, used and torn look about her with a modern twist, not something you would expect for our once Princess of Wales and Queen.
Mitchell’s absolute slay of music and scene setting was completely special and new for me. How often do you get to lie on the floor and watch an astounding actress bellow pain and abandonment whilst observing the composer, director and creator of such an art, almost dance with every touch of the piano, passionately stomping his direction to the violinists and leading us into deep historic heartache? Not often!
The music was intense, strong single cords and contemporary build ups. I especially enjoyed the scene where microphone techniques where used to full affect, almost like a horror movie. It was emotional and has had an effect my own story perspective. Have I made up my mind as to the real story of Catherine Aragon? No, not yet. Although, I do believe that the King was capable of anything and that she did seem very devoted, probably what sent her nuts in the end.
If you like history and appreciate magical contemporary music and art through theatre this is for you. It was absolutely… for me!

Dance, Film & TV, Literature, Music, Theatre

Get the Chance to takepART

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Get the Chance recently had the opportunity to run some free critical workshops as part of takepART 8 at Venue Cymru, Llandudno. takepART is aimed at the 0 to 18-years-old age group, but its open to  parents, grandparents and even great-grandparents who all get  involved in workshops and craft sessions that take place throughout Venue Cymru.

 
Get the Chance was just one of the organisations running a series of free workshops during the weekend.
https://issuu.com/venuecymru_/docs/vc29920_takepart_2017_fin_lowres_
The Get the Chance staff had the opportunity to chat to some of the members of Young Critics North Wales who are supported by the venue.  Young Critics North Wales is based at Venue Cymru, Llandudno. It is supported by the Arts Council of Wales and is the first scheme of its kind in North Wales.
https://youngcriticsconwy.wordpress.com
We can recommend the scheme and If you would like to be a Young Critic please email joann.rae@conwy.gov.uk for more information.
We can also recommend the work of the Document Conwy who ran a free newspaper and photography workshops called The Daily PlanART
http://www.documentconwy.co.uk/the-daily-planart
The pop-up newspaper  returned to Venue Cymru’s take pART arts festival where young people were given the chance to learn some of the skills of a journalist and news photographer. Under the guidance of Editor Joann Rae, Chief Photographer Paul Sampson and Chief Reporter Tim Moxley, young people were assigned a story to cover and photographs to capture from all of the exciting events at take pART! All the work below has been created by the young journalists and photographers of the Daily PlanART


It was a very welcome opportunity for Get the Chance to develop its critical network in North Wales. We thank the Arts Council of Wales for funding this opportunity.

 
 

Dance, Theatre

Review : The Mad Hatter’s Tea Party, Zoonation, Roundhouse/The Royal Opera House, By Hannah Goslin

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Image result for mad hatters tea party zoonation

out of 5 stars (4 / 5)

As the name says, the Roundhouse is a circular venue that is full of possibilities. My first visit here was many years ago for a concert, so to come back and see it full of staging, rostra seating and a world of possibility was a refreshing new view.

Perfect for such a story as The Mad Hatter’s Tea Party. Taken from the famous stories by Lewis Carrol that we all know and love, Zoonation have taken the narrative and slightly changed it to Wonderland being a safe haven for those who suffer a range of psychological disorders. This begins in an insane asylum, with an introduction to each character and their specific notabilities being explained to being more real and likely mental health issues. This I thought was a great way of bringing such a serious collection of issues and illnesses to the forefront of our mind and turning them into positives and acceptance with the dance and humour to lighten the story.

Of course, it is notable that Zoonation is a dance company and so it is right to make a conversation on their abilities. And of course, they were talented, skilled and flawless. To move from just dancing to acting through movement is extremely well done and practiced to perfection.

The costumes, set and use of the space is so inspiring and as flawless as the performance that I felt lost in the world in front of me and to a point forgot that I was there to critique, and instead just purely enjoyed it. The set, the lighting and the atmosphere was unique and interesting, humorous and enjoyable. The performers purely fantastic and the whole concept well thought out – throw in a live band whose repertoire ranged from soul to dance to acoustic, it complimented it well, leaving us wanting to join in the Tea Party.

Music, Theatre

Review: Sunny Afternoon by Corrine Cox

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With speckled references to the hits throughout the storytelling, this clever writing creates an enjoyably impatient anticipation for the big numbers but also the impression that we are watching the creative genius unfold.
out of 5 stars (5 / 5)
As we’re teased with references to the iconic You Really Got Me in the opening sequence there’s already a palpable sense of anticipation pulsing around the auditorium of the Wales Millennium Centre as the cast of Sunny Afternoon prepare to take us on a 2½ hour musical journey through The Kinks rise to stardom. From the early days in North London; their debut on Top of the Pops; the infamous American tour; through to their triumphant comeback, Joe Penhall ingeniously weaves the hit songs from the 60s into the storytelling of one of the most influential bands of the era.
Our story begins in Muswell Hill, with performances by Ryan O’Donnell & Mark Newnham perfect characterisations of the often tense professional relationship between the rebellious Davies brothers, as they navigate the initial tensions to discovering the bands distinctive sound, the start of a journey which would shape a unique musical identity that would inspire generations. Throughout the evening O’Donnell, Newnham (a highlight performance), Gallo, Rhys and the supporting ensemble, blend effortlessly to recreate the iconic sound of the band, in what is a moving portrayal of both the professional and the personal lives of the band and their adjustment to the pressures of stardom. With references to the hits speckled throughout the storytelling, this clever writing creates an enjoyably impatient anticipation for the big numbers but also the impression that we are watching the creative genius unfold.
Throughout the exploration of the soaring highs and the frustrating lows the band encounter, we join the cast in a celebration of how four working class musicians from North London changed the music scene for generations to come. Dead end street, weaved masterfully into Penhall’s narrative, particularly highlighting how the bands upbringing proved an ongoing source of inspiration for Ray’s writing with the majority of the works involving similar elements of social commentary, which inevitably played a large part in their then and ongoing appeal.
The staging enables the cast to create a certain intimacy during acoustic interludes including This Time Tomorrow and Thank you for the Days, contrasted with the gig feel of the iconic All Day and All of the Night & roof raising end sequence, and quirks of the choreography and use of props lend themselves especially well to the playfulness of numbers such as Dedicated Follower of Fashion.
The universal appeal of Sunny Afternoon makes it a must-see irrespective of whether you know the band or the songs. If you know The Kinks you’ll love it, if you don’t know the Kinks you’ll love it. A feel good musical and a moving portrayal to one of the defining bands of the 60s who will continue to inspire generations to come.
Ray Davies – Ryan O’Donnell
Dave Davies – Mark Newnham
Mick Avory – Andrew Gallo
Pete Quaife – Garmon Rhys
Music & Lyrics – Ray Davies
Book – Joe Penhall
Original Story – Ray Davies
Director – Edward Hall
Designer – Miriam Buether
Choreographer – Adam Cooper
Lighting – Rick Fisher
Sound – Matt Mckenzie
Musical Supervisor – Elliot Ware

Theatre

Review, He(ART), Theatre N16, By Hannah Goslin

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Image result for he(art) theatre n16
 

out of 5 stars (3 / 5)

Above the Bedford pub in Balham lives a little unique space where creativity unfolds.

Written by Andrew Maddock and directed by Niall Phillips, He(ART) portrays the story of a couple and of a brother and sister and their different reasons to obtain this one painting. It is filled with heartfelt moments and great relationships, making the scene about more than just a painting.

Our couple are quick witted, on their toes with the narrative and comfortable with one another and their characters. From two different backgrounds and different opinions, we see them go through the highs and lows, the indifferences and the making up from these. To try to become as natural and realistic as these two performers managed to do shows great skill and attention to detail and subtext. My only issue with them comes down to the writing – we are introduced to our male protagonist having a heart condition which causes some arguments and tests to the relationship. While an interesting concept, to me if felt thrown in and did not link much in the overall aspect of the production.

Our brother and sister duo who are of a lower class, struggling with money, crime and family, coming together to support one another. The young sister having disabilities as well, provides a delicate narrative and they both do wonderfully in portraying their relationships, bonding and trusting one another in creating the narrative. This is well written and directed perfectly that these talented actors are able to pull at our heart strings and really make us feel our emotions.

A basic set, we are close to the performers and always see them on set – keeping in character, they are invested in the production and invested in the storyline to never break that barrier, showing their respect and interest in this production as a whole.

He(Art) in interesting and relatable but also leaves you feeling for the characters and applauding the performance, writing and directed as a whole.

Music, Theatre

Review: ‘Sunny Afternoon’ by Gemma Treharne-Foose

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out of 5 stars (5 / 5)
 
So it’s January, everyone is detoxing, skint after Christmas and bruised after Brexit, Trump and a string of celebrity deaths in 2016. I can hand on heart say that if you are suffering from SAD or have lost all hope for the year ahead, you need to find the sun behind those clouds and get your butt down to WMC pronto to see ‘Sunny Afternoon’, the touring production running until Saturday 21st, before it shuttles off elsewhere.
Even if you are not a fan of The Kinks or a fan of musicals featuring the back catalogue of certain bands (let’s not even mention ‘Viva Forever’ here!), you will be hard pressed to find a more inclusive and entertaining musical in 2017.

A real kick in the 60s!

The soundtrack to your Mam and Dad’s wild years, the show focuses on four working class lads riding the crest of the wave of the ‘British invasion’ in the 60s – the meteoric highs and the crushing lows.  Natalie Gallacher/Pippa Ailion’s casting of Ryan O’Donnell and Mark Newnham as brothers Ray and Dave is a triumph – the pair have sensational synergy and energetic friction on stage and O’Donnell’s sweet vulnerability shines through his entire performance.
Newnham is unmissable as outrageous rebel Dave, everything from his swagger, his cockney banter and his swinging from the chandelier in a pink dress had the audience eating out of the palm of his hand.
The most famous of the Kinks’ songs were cleverly deconstructed and re-packaged, allowing us to delve further into the back story to possibly the most influential riffs and tunes ever written.  The scene where Ray and Dave are trying to perfect the edgy baseline to their hit song ‘You really got me’ is pure magic, reverberating through your chest and rattling around your rib cage.

There are some delicious comic lines, especially from the plummy stockbrokers-turned-agents Robert Wace and Grenville Collins, who groomed the four for stardom, even coming up with their name, with the help of another agent Larry Page.  I couldn’t help laughing out loud when one of them says in a voice that may remind you of certain Harry Enfield characters: ‘Now…let’s talk about it over a nice plate of kippers’.
You’ll laugh when Ray’s Dad (played by Robert Took) complains about ‘wearing out shoe leather’, about the house prices in Muswell Hill (£3,500 – with a £500 deposit!)…and you wonder what the hell Mr Davies would make of the prices in Muswell Hill these days. This is nostalgic but not cloying, sentimental but not syrupy.
There are multiple sharp observations and throwaway comments referencing other 60s bands and celebrities. When the managers find Ray in a depression in bed with Rasa his wife, one of them quips: ‘You wouldn’t find John Lennon lounging around in bed with his wife!’.  Later on, when the band are on tour in America and are uneasy about the guns and violence there, their manager assures them ‘You’re a pop star! You’re not important enough to shoot!’.

A blueprint for future musical trends


The real pleasure for those not born in the 60s is the discovery of music you didn’t know existed – for my parents’ generation, it’s all familiar territory.  But if you only know a handful of the old (and most famous) of songs by the Kinks, you get to unwrap a new gift.
Aided by the clever studio/house/concert hall design of the stage by Miriam Bluether and the choreography by Adam Cooper, watching ‘Sunny Afternoon’ will transport you back to the excitement, the optimism and the feeling of being on the cusp of something completely original and unchartered.  
From the time THAT guitar riff kicks in, you understand exactly what it is your Mum has been harping on about all these years. It’s hard to imagine how utterly new, how extraordinary this must have felt for teenagers in the 60s, to go from stale crooners in suits to long haired rebels with rock guitars.  
The Kinks were the masters of social commentary which would foreshadow the later emergence of musicians and bands of my generation: the blueprint for American garage and rock bands like grungy Nirvana in the 80s and the Britpop boom in the 90s.  I hadn’t realised it until last night but ‘A well respected man’ was clearly influential for Damon Albarn and his crew with Blur’s hit ‘Country House’.

Delightfully rebellious, clever and heartfelt


Credit must be given to the wonderful pacing, characterisation and story for the musical by Ray Davies himself.  It’s clearly a personal and heartfelt snapshot of an incredible moment in history.  The result is rebellious, clever and heartfelt and I witnessed something I hadn’t yet seen at the Wales Millennium Centre: an entire audience on their feet, no awkward seat lurkers in sight. Inhibitions were gone and for a moment I felt like we were watching the real Kinks.  I was genuinely sad to leave the theatre and re-emerge into 2017.
My Mum, who had accompanied me (and by the end was a bawling mess) had enjoyed every last morsel of the show. I asked her why she was crying, she said: ’I remember it – I remember it all!’.  If only to see what your parents saw, feel how they felt and see how bloody awesome the fashion and sounds of the sixties actually were, this is an absolute treat of a show.  
Type of show: Theatre
Title: Sunny Afternoon
Venue: Wales Millennium Centre  
Dates: 17 – 21 Dec (Touring show)
Directed by:  Edward Hall
Music, Lyrics, Original Story: Ray Davies
Choreographer: Adam Cooper
Sound: Matt McKenzie
Musical Director: Barney Ashworth
Cast:
Ryan O’Donnell (Ray Davies)
Mark Newnham (Dave Davies)
Richard Hurst (Larry)
Tomm Coles (Grenville Collins)
Joseph Richardson (Robert Wace)
Lisa Wright (Rasa)
Garmon Rhys (Pete Quaife)
Running time: Approx 3 hours (with interval)
Produced by: Sonia Friedman Productions and Ambassador Theatre Group