Category Archives: Theatre

Review ‘Mary Poppins’ WMC by Troy Lenny

December 20, 2016 Troy Lenny Leave a comment

(4 / 5)

Mary Poppins is a musical, which you most probably know or have heard about, originally produced by Walt Disney and songs sparked alive by the Sherman Brothers.

The musical begins with two cheerful children in the 1960s named Jane and Michael who are as free as a drifting kite, but far from home, so a constable safely returns them home. Upon arrival, the children ask for their father to build a better kite, but Mr. Banks who is a banker, certainly doesn’t believe it’s a bankable time, not only for himself, but for his children too. So, rationality directs him to hiring a stringent nanny, one who can restrict the children’s wild imaginations and size their mannerisms appropriately. Jane and Michael however have different wishes, they want a nanny who is fun, free, and funny and magical Mary Poppins is a wish come true.

Mary Poppins guides the Bank family into a world of freedom, teaching them to remove all restrictions such as: patronising patriarchy, calculating classism, and recurring reality in a merry, magical and musical manner, so they may be bouncingly blissful rather than depressingly deflated.

On Friday I ventured to the Millennium Centre to watch Mary Poppins and I would definitely recommend it to be watched; since we were young our minds have been creatively curious, whether it was having imaginary friends or discovering a new and expansive world in our back-gardens and frankly it was fun. But, as we age, we lose a lot of things, and one is generally is the World of Wonders. Instead we walk into the world of restricted, reality rationality sadly never to see World of Wonders again but Mary Poppins guides you back into the world of magic so I would definitely recommended to watch it.

I would like to also applaud the fantastic acting by the performers, especially Mary Poppins played by Zizi Strallen; Jane by [I’m unsure which girl it was in the booklet] and Michael by [Unsure again] and the welcoming service from the Millennium Centre.

Music, Theatre

Review ‘Mary Poppins’, WMC by Kate Richards

December 20, 2016 Kate Richards Leave a comment

Sitting in the Wales Millennium Centre awaiting ‘curtain-up’ at Mary Poppins, I felt slightly sorry for the cast and production crew, at the huge task they faced in trying to impress the likes of me. Not a huge fan of musical theatre at the best of times, somewhat taken aback at the eye-watering cost of taking a family of four to the theatre at Christmas, and yet at the same time harbouring high expectations of being transported to a bright, magical world far away from Brexit, the state of the NHS and all the other gloomy headlines…..I was not disappointed.

As the curtain rose I felt my hackles rise slightly as the hubbub of the audience took too long to die down, but thankfully the volume and energy of the production soon drowned-out the residual noise and fidgeting of the younger audience.

What followed was a fast-paced, re-invention of the story that we know and love, interspersed with just the right mix of slick ‘magic tricks’ (pulling the hat stand out of the carpet bag, sliding up the banisters and making pictures come to life) and all the big songs you’d expect from this production. I was surprised at how different the story and structure was from the original film version, but this did not diminish the production at all – in fact it made it easier to watch for those of us that are very familiar with the dialogue of the iconic film.

The children, though ‘ringleted’ and clad in sailor dress and tank-top respectively, had a bit more attitude than I remember from the film, but I have no doubt this helped to make them more relatable to a modern audience, and helped make the whole thing a little less saccharine than I was expecting. The same could be said for Mary herself – though Zizi Strallen was every inch Mary Poppins from her clipped, received pronunciation to her turned-out toes.

I’m still not sure how Mary actually appeared on the stage, since we were distracted (not for the last time) by the creative use of lighting above the audience, so when our eyes returned to the stage – there she stood, perfectly poised.

The set was totally in-keeping with expectations of the house in Cherry Tree Lane (like the doll’s house you dreamed of as a girl but only collectors actually own), the colourful park and contrasting austere, greyness of the bank, and scene changes were slicker than other big budget productions I’ve seen in the West End. The pace and juxtaposition of the monochromatic scenes in London and the bank versus the vibrant colour of the park and the house scenes worked well at holding the attention of even the youngest audience members, and kept-up the momentum of the story.

I was amused to note that the ‘pre-teen’ beside me, pointed out every wire on the kites, and each cable used by Mary and Bert for their gravity-defying moves to her mother, but considering the challenges of staging this musical, it was actually gratifying that these were the only little bits of ‘reality’ she appeared to spot through-out the evening.

All-in-all it was the visual feast that I’d hoped for and it seems that the big budget really does buy you quality in everything from talent to sound, and costume to lighting. It is hard to pick out individual performances or highlights because the whole production worked seamlessly to create a theatre-going ‘experience’, where all the cogs meshed perfectly in a well-oiled machine. I went to see the production with my ‘Mum hat’ on wondering what my 6 and 10 year old nephews (and eventually my own child when he’s old enough) would make of it – would it be too ‘girly’ and surely there would be a very narrow window of opportunity when a child was old enough to sit through it, but not too old to dismiss it as ‘babyish’ or ‘uncool’? As I reflect on my experience, I know that my nephews would have been transfixed, and I would be so bold as to suggest that my husband would have enjoyed it too; the polished performance absolutely transported me to another world for a couple of hours so I concluded that it would be worth saving up for this as a special family treat at Christmas, and I might even give a few more popular musicals a try.

Theatre

Review ‘The Giant Who Had No Heart In His Body’ by Gemma Treharne-Foose

December 19, 2016 Gemma Treharne Foose Leave a comment

(4 / 5)

There’s a reason why people are reluctant to sit in the front row. Expect to be picked on, called out or even become part of the show!

This was my first time to see a family production at Chapter apart from their regular family film Saturdays – a favourite of mine and my little ‘mini me’ Lili, age 7. This was also the first time for Lil to accompany me on a trip to see a show I was reviewing.

We are greeted in the theatre by Dot (played by Hazel Anderson) and Aggie (Ellen Groves), who immediately strike a chord with the kids in the audience.

The set is whimsical and dreamy, there are washing lines with wind chimes and floaty plastic bags gently blowing in the breeze. There are fishermen’s nets lit with icy blue fairy lights. There is an ethereal and robotic soundtrack, creating the feeling that we are definitely somewhere else.

I’m not sure if we are in an inventor’s workshop or an art studio. I know that just watching those floaty bags swishing in the dimly lit studio immediately put me at ease despite there being around a hundred kids behind me – and this is a rare feeling for me!

Anderson and Groves play the part of Dot and Aggie, two ladies with a special mission: to collect and gather as many stories as possible from their dream platform on the sky. It’s been a couple of hundred days since their last story was gathered. Somewhere along the way and I have no idea where, as engrossed as I was in the story – they swallow an item that makes them become storyTELLERS instead of story gatherers.

They set upon a mission to meet a giant, who needs his heart back so that all order can be re-instated. The story is based on an old Norwegian tale, which it turns out is a lot more complicated and multifaceted than this pared-down devised creation.

In this story, Dot and Aggie beg, steal and borrow from everyday items and old nick-nacks to move the story along. Stories are ‘hoovered up’ in disco-lit tubes and deposited in tin cans, crows are created with a tatty umbrella, miniature characters are created using a sponge and a tin can. The giant is conjured up using a couple of white bed sheets and some poles with rubber gloves on the end.

This is no-frills theatre, but with pure champagne ideas. It is imaginative and fun to the core, but what makes this a production really worth watching is the sheer exuberance and hilarity of Anderson and Groves.

It’s clear they have cleverly crafted this tale, injected it with a few madcap extras and sprinkled a whole load of Christmas fun on top.

The improvised asides and lines come thick and fast, there are mishaps on stage (arms fall off the little characters, costumes getting tangled up) and the energy and fun of the two during the performance is completely contagious.

This is not a kid’s play where the actors talk to you in a high pitched voice and coddle your special little snowflakes.

These two have sass and plenty of it. The comic interaction of this duo reminded me of French and Saunders, with a side order of Victoria Wood and a sprinkle of ‘Smack the Pony’.

I loved the joshing and piss-taking of traditional character types: ‘Me? Jump in this well? But I am a mere delicate waif maiden with a very floppy hand’. ‘Gee miss’, Dot’s character hams up with a strange gruff American twang, ‘Haven’t you ever heard of feminism’?

Kids in the audience belly laughed and roared, cheered on by the characters who played along brilliantly with all the interruptions. When the giant’s arms got tangled up on stage, I went up and tried to assist as best I could before giving up and sitting down.

The whole thing could have gone tits up from there, but they managed to recruit an ‘adult man’, who helped them untie the Giant’s arms and move the story along. ‘I’m glad we are filming THIS performance’, one of them quipped.

I always listen intently to others in the audience for snippets during the intervals/intermission. One Mum commented she thought some of the audience interaction bits (breaking the 4th wall, etc) were unnecessary in parts. I think the only lame ducks were some of the cheeseball ‘Dad jokes’ – ouch. But then you need some Dad jokes in a kid’s show I suppose – tradition and all that!

Keen to recruit a new mini reviewer, I’d asked mini me after leaving the show ‘Do you want to do a video review so all the other Mums and Dads can find out about the show and you can tell the actors what you thought?’ ‘Noooooooo!!!!’ she said firmly. That was the end of my dream for my ‘Mommy and me live theatre review channel’.

However, I did persuade her that a written review would also be very welcome. This struck a chord with her and she was keen to share her thoughts and her 5 star rating. She was delighted to be called out in the show – ‘What did you eat for breakfast?’ Ellen Groves’ character Aggie asked her.

‘Pancakes’, she responded. Later in the show, Aggie (dressed as the hilarious Giant) asks kids in the front row ‘Have a guess where my heart is buried…?’ before interrupting them and bellowing back ‘NO!’

She then turned to Lili and said ‘Oi…pancakes…what do you think?’ So Lili signed her note this evening ‘Love, Pancakes’. This may have been Lili’s first review but it was also a love letter from a theatre fan girl in the making.

When she got home, her first words when she saw her Dad were ‘DAD – You seriously missed out!’ Maybe next time, little one (and Dad can help hold up the giant’s arms!)

From Lili (hand-written review pictured above):

Wow! What a great show!!! I loved the creation. I hope you do more shows like this. It was soooooo good. You acted great. It was sooooo funny. The puppets were wonderful. I want to see it again! I wish you a Merry Christmas and a happy new year, from ‘Pancakes’. (5 stars)

Type of show: Theatre
Title: The Giant Who Had No Heart In His Body
Venue: Chapter Arts Centre
Dates: 19 December (Touring show)
Devised by: Hazel Anderson & Ellen Groves
Directed by: Hazel Anderson & Ellen Groves
Cast: Hazel Anderson (Dot) & Ellen Groves (Aggie)
Running time: Approx 1.5 hrs (includes interval)
Produced by Likely Story

Literature, Theatre

Review Benighted, The Old Red Lion Theatre by Hannah Goslin

December 18, 2016 Hannah Goslin Leave a comment

(2 / 5)

In yet another one of London’s beautiful Theatre Pubs, I attended the show ‘Benighted’. Based on the 1927 novel by J.B Priestley, this adaptation by Duncan Gates and directed by Stephen Whitson sees a group of travellers lost in a storm in amongst the mountains and valleys of Wales where they stumble upon a lonely house, only to experience one of the most memorable and frightening nights of their lives.

Firstly what struck me as lovely about this production was their stellar use of the space. A compact room, it seemed full but not busy and somehow opened out the story to us; with only a few additions and one change of a door appearance, the use of staging and space is intriguing and does not feel cramped. To add to the scary, dark atmosphere and to give a ‘olden day’ sense to the 1920’s based play, the whole scenery was of a dark wooden look, with hazy lighting to give us some spook.

Unfortunately, this is all that really impressed me. The performers were well rehearsed, giving wonderful performances as much as they could, hitting the speech and mannerisms of persons of the times – exactly what we would expect. And therefore, I cannot fault them. However, it all felt a little stunted. Benighted, known as a comedy/horror, is famous for inspiring Rocky Horror Picture Show and other comic/thriller/horror plays and films, I expected something more. We all know how clever and catchy Rocky Horror […] was and is, and yes, it contains tunes that even the younger generation can now sing word for word which gives it a slight advantage but it had a spark that this production of Benighted just missed. Moments of fear played along with comical moments felt as if the play could not make its mind up of what genre it wanted to be and lacked combining the both fluidly.

Despite this, if you are looking for an easy watch, little giggle and some tense scenes, Benighted is a nice production to pop along to see for something different on a weekday night.

Circus, Theatre

Review Bianco, No Fit State Circus, Southbank Centre by Hannah Goslin

December 16, 2016 Hannah Goslin Leave a comment

(5 / 5)

This being my third time to Bianco over the years, it’s as if I’m visiting an old friend. I know the general basics, I’m sure they still look the same but something is different, something better if better was even possible from the previous.

No Fit State’s Bianco is a vagabond group of circus skilled professionals clambering around a moveable stage in a more traditional tent. The combination of tradition and the modern combines equally in this show – we see trapeze, silks, juggling and so on, but they’ve taken a different take on them. The group of adult children, playing with one another, the audience, dressed in mismatched almost ‘steam punk’ –esque attire, there’s a non-placed era to the production and so ages and time are not a concept; the concept is fun, play and a group to be feared but which is hard to after them being so easy to love.

There is no fear to interact with us; at one point being stared at for a good 5 minutes even for me put me on edge, but also made me laugh. They flirted with us, not just with their charming conversation, the occasional wink and playful nature, but with their tricks – when we thought it would go one was it went another to surprise us. The performances were flawless. And let’s be honest, who does not love a circus performer?

As I have said, returning to Bianco for a third time and being over quite a few years, I saw the original, an update and now a new version. The most poignant scenes are still there, perfected as always, but there are additions, new members of the family, updates and even different music. My only sorrow was to see that in previous productions there was a father figure amongst the family of nomads who is not in the current production who gave a sense of leadership, a feeling that these homeless travellers in their strange collection of clothing and intimacy with one another were lead by this man. Now it’s very much a young man’s game, and these grown children are enjoying life, meeting the boundaries of danger and having the time of their lives – there is nothing better than seeing performers enjoying their jobs. Now we could say this is brilliant acting; their banter with each other and ourselves just creating the playful atmosphere but somehow, I do not think even Olivier himself could fake pure joy of a part.

Bianco is nothing less that phenomenal. Harping back to traditional Circus, they have paid tribute to this but adding some things new and never before seen, with each resurrection of the show they keep even us old hat fans coming back for more.

Run away with the Circus; Run away with Bianco.

Theatre

Learning How to ‘Entrepreneur’ Via Roller Derby, The Arts And An Internet Marketing Guru by Gemma Treharne-Foose

December 12, 2016 Gemma Treharne Foose Leave a comment

Gemma with the Internet Entrepreneur and founder of ‘Frontline Marketing Live’ – Jon Pemberthy

A couple of things have happened this year and I’ve found myself in an unprecedented situation due to a number of strange unrelated events. I’m not sure how I got here and I’m kind of terrified. Terrified though in the way that you feel before the big drop on a rollercoaster. You can’t stop the ride because you’re already buckled in, but you have to see it through anyway.

First of all, I’m a girl from humble roots in Tonyrefail – a town on the cusp of the Rhondda famous for a heroin epidemic in the 90s. My parents have all at some point been recipients of the welfare state (or ‘benefits’). I was the first of my siblings and cousins to go to University and obtain a degree. I’ve ticked all the boxes and travelled the world, got a steady job in a large public sector organisation, bought a car, etc. etc.
But I’ve kind of found myself bobbing along un-merrily for the last eight years. I always thought I would at some point leave my steady respectable job to live on a house boat, or join a commune and grow organic radishes, perhaps. Then before I knew it I’d joined the beige blob and found myself with a mortgage, a child and two dogs. And I was back in the Rhondda! What happened?
Entrepreneurship was about as familiar to me as quantum physics. And a bit of a dirty word. Something other people dabbled with. My Dad named his dog Karl Marx, for God’s sake! There was no chance for me and I would never be interested in trying to set up my own business. I had no idea what I wanted to be when I ‘grew up’.
I later diagnosed myself as suffering from ‘ambition paralysis’ for the last eight years.
But then…back to this series of completely unrelated but strangely fortuitous events:
1.) My husband left the public sector and went to work for ‘The Empire’ (AKA ‘The Private Sector’)
2.) I started training with a local Roller Derby team – I found a little niche right in the valleys where having an attitude and a dirty mouth was not only celebrated but encouraged. A better fit for me than the PTA, I soon found.
3.) I found myself writing theatre reviews and in the process, picked up a pen and wrote for JOY for the first time in around 10 years.
4.) I became involved with a social enterprise where I was given theatre tickets in exchange for writing reviews. I started to build up a bank of reviews and take part in collaborative events for people in theatre and the arts.
5.) My husband introduced me to colleagues and they ask me (or challenge me) to take on some of their clients. These two gents are self-made entrepreneurs (also from the Rhondda) and encourage me to give it a go. I almost talk myself out of a job because I am so used to belittling my accomplishments.
6.) I started an intensive 12 week programme for budding entrepreneurs at the Welsh ICE centre and meet like-minded individuals who are baby-stepping it all the way to independence.
7.) I attended a marketing event hosted by one of the UK’s top internet entrepreneurs and forced myself to *gulp* ‘network’ (God, I hate that word) and ‘PR myself’. I felt like I needed to wash afterwards, but it was actually FINE!
8.) I finally figured if I could take a body blow from aggressive derby girls on skates, I could learn to cope with the rejection of someone not liking the copy I produce.
9.) I’m now baby-stepping it to increased independence and am now working one full day a week establishing my business.
10.) I have absolutely no idea where this will lead but I’m enjoying the view.
I gave a pitch to a room full of people two weeks ago and presented my business in public for the first time. This in itself was a challenge for me. I might have worked in PR for 8 years and have rather a loud voice but I am not a fan of presenting. I really was blown away by the feedback (although one of the panel members during the pitch said the ‘business’ part of her brain was screaming ‘Plans! Where are her PLANS!?’).
I have never thought of myself of an expert in anything, really. But people have always told me I had some useful skills. I think girls especially are taught to hold back for fear of not being ‘an expert.’ I became a master of chilling in the back seat and letting others lead for the longest time.
Am I now comfortable with describing myself as an aspiring entrepreneur? Well no, that’s not changed overnight, but I’m meeting the right people and attending more and more events where I meet others on a similar journey.
2016 has been an absolute stinker of a year, for the most part. But for me, it’s been the year where a small theatre in Cardiff, a collection of Roller Derby ladies and an entourage of Internet Entrepreneurs in a hotel in Marble Arch forced me out of my comfort zone and gave me the confidence to do something new.
Article originally posted by Gemma at the link below
https://www.linkedin.com/pulse/learning-how-entrepreneur-via-roller-derby-arts-guru?trk=hp-feed-article-title-publish

Theatre

Review ‘Love Steals us from Loneliness’ Chippy Lane Productions by Troy Lenny

December 12, 2016 Troy Lenny Leave a comment

(4 / 5)

On Thursday I ventured to Chapter Arts Centre, Cardiff to see Love Steals us from Loneliness from Chippy Lane Productions. A teaching-tale of Love depicted in a relatable dark and drunken-night spent in the night by two long-term friends. Whilst in the park they drift from discussing: past adventures shared with each-other, slurring and slight insults and eventually their long and lustrous love which has been squeezed in seemingly for eternity.

So you could consider it an ordinary Love play from such a description, but it’s extraordinary. This play teaches you that Love permeates through all relationships (including strangers) and inevitably softens us to sands of sadness, never to be whole again or roughens us to rocks of regret, never to be loved again.

Expect to see a medley of a missing and melancholic mother, concerned and caring daughter, and a gravely guilty girlfriend. This is a play which will grasp your hand and lead you through the delightful and disastrous Forest of Love. A play of perfection.

RIGHT WHERE WE LEFT US

Music, Theatre

Review ‘Licensed to Ill’, Southwark Playhouse by Hannah Goslin

December 12, 2016 Hannah Goslin Leave a comment

(4 / 5)

While not being an 80’s baby, but a 90’s one, I grew up listening to many 80’s/90’s prevalent artists thanks to my two older brothers. One that always caught my attention were the Beastie Boys. Perhaps not the most appropriate of music to be listening to, the songs provided a new sound that the Spice Girls and Prodigy (while some of my absolute favourites in their own rights) did not produce.

Licensed to Ill, taken from the album title by the band, see the progression of their influence in music, firstly coming from the first hip hop influences to how three white New Yorkers broke the scene, providing their influence to many stars of the scene today.

Now an almost ‘biographical’ production sounds like it would be a little like a museum talk – while interesting, there’s still a lot of verbal storytelling and not enough action. How wrong that is when it comes to Licensed to Ill. Fast paced, quick witted and using all resources, this production tells the story of these three boys through humour, great use of doubling, tripling characters, but making them a little over the top to not only distinguish them from previous characters but to bring hilarity to the situation of a small cast compacting in a huge number of personas.

What struck me as extraordinary is that the three playing the Beastie Boys themselves were completely on the mark. Their mannerisms, approach to the characters and generally trying to be ‘bad ass’ was so well executed, it was so easy to get lost in the production and feel as if you were meeting the real deal. And this is where the musical talent comes in – if these actors weren’t young for the age of the Beastie Boys today, and you know, were in a play, I could have been convinced that I was watching a gig. The musical interludes with some of their best hits were brilliant – they moved around the stage and conducted themselves just like the band and their singing voices nailed the originals – if you have not listened to the Beastie Boys before now (shame on you!) then check them out because not only was their music unique, but their voices were too. To replicate this is nothing short of incredible.

Licensed to Ill is fun, fast paced and comedic on all levels. From the set to the characters to the execution of 20+ years of band history condensed into over 1 hour with theatrical techniques, a biographical production is turned into some wonderful nostalgia.

Musical, Theatre

Review ‘Her Aching Heart’ The Hope Theatre by Hannah Goslin

December 8, 2016 Hannah Goslin Leave a comment

(3 / 5)

Another transformative space, The Hope Theatre is compact but also a blank canvas. From my last visit, again the stage is completely different. 3 sections of chairs semi-circle the stage which has minimal setting and a large curtain behind.

‘Her Aching Heart’ sees the cross over story from present day to the days of Victorian gothic romance novels. However there is a twist. There are no Mr Rochester’s’ or Colin Firth striding in drenched in pond water – this story has strong female leads and strong romantic love between the two of them.

Picking up on the nonsensical opinions of the time in comparison to now, ‘Her Aching Heart’ is comical in creating 1 dimensional characters and highlighting these with costuming and casting – The Lady of the Manor type character of Harriet (played by Colette Eaton) is all full of pomp and circumstance – beginning rude, obnoxious and playing upon the upper class stereotype, her being dressed in dark colours and casting a brunette is clever with the contrast to the opposing character. Molly (played by Naomi Todd) is a blonde, innocent and by all means perfect peasant girl, who very much like Snow White, attracts creatures and humans alike and revives them with her pure goodness. She is mostly dressed in white and pinks to enhance her innocence. Both actresses do brilliantly well to be humorous and to play to these stereotypes. The costuming and casting choices are also brought into the ‘present day’ scenarios, despite these modern characters being more likeable and naturalistic.

The production in hammed up, over the top and melodramatic – and this is all good. The idea of enhancing these ridiculous aspects makes the musical comical and contrasting to the era change. The play is clever in making it seem amateur and with this, the polished production is anything but. Original music and composition is used which is funny, witty and provides breaks between the scenes. The only negative I could give is that it is notable that one singer is more prominent than the other – Eaton has a more husky, attention grabbing voice and is able to adjust to fill the room but not blast us out the door – reminiscent to me of a character you would find in Chicago. This is not to say that Todd is not good – she has a wonderful musical theatre-esque take to her voice, her songs and approach to these reminding me much of Wicked and tells the tale well; the voices are just so different that in harmonies and song after another, Todd seems to get a little lost in the space and this is unfortunate for such a wonderful performer.

Her Aching Heart is comedic, clever and certainly worth a watch. Pushing the boundaries of what we know about gothic romance novels and the heterosexuality of them – writer Bryony Lavery has certainly taken a great concept and ran with it.

http://www.thehopetheatre.com/productions/her-aching-heart/

Theatre

“Six Years ago I Was a Mess” by Chelsey Gillard

December 8, 2016 Guy O'Donnell Leave a comment

Nia Roberts in Love Steals Us From Loneliness, by National Theatre Wales at Hobos Nightclub Bridgend

Six years ago I was a mess. I had dropped out of university. Everything I had been working up to in my life so far had fallen apart during the time it takes to read one email. I honestly didn’t know who I was or what I wanted to do with the rest of my life – a gaping eternity with not a single flash of hope ahead. Working a full time job in retail, to prove I wasn’t a directionless burden on my family, did little to improve my mood.

Hobos, Bridgend

Somehow I found myself in my usual boozer, Bridgend’s only alternative club, Hobos. But this time it wasn’t to throw some shapes on the dance floor. Instead I was seeing the first professional production I’d ever heard about taking place in Bridgend. Like many others I was a little annoyed that the play was inhabiting the space in which I could usually let my hair down (yes I had long hair back then!).
Working with National Theatre Wales Guy O’Donnell (Arts Development Officer for Bridgend Council) had set up a new initiative – The Young Critics. The aim was to get more young people into theatres, seeing professional work and sharing their opinions on what they had seen with a wide online audience. I had taken a chance and got involved with the scheme, feeling very strange as I climbed the steps into Hobos in flat shoes rather than heels to see Gary Owen’s Love Steals Us From Loneliness.
Thanks to the Young Critics I was able to review more and more work. It was rare for me to go a full week without seeing a show. My knowledge grew exponentially. My taste for theatre exploded – I’m now a huge fan of more experimental work that would have left me confused and unsatisfied as a 19 year old.
That first year as a Young Critic gave me my passion for life back. Seeing so much exciting work gave me my love of theatre back. Feeling like my opinion was valid (if sometimes wrong) gave me my confidence back. I applied to study English and Drama at Cardiff Metropolitan University and I haven’t looked back since.
During my studies I started previewing people’s work. Being able to sit in on the rehearsal process and learn the tricks of the trade got my mind whirring. This is what I wanted to do! I wanted to be in the rehearsal room making beautiful theatre.

Chelsey Gillard & Rachel Williams – Bridgend Young Critics. National Rural Touring/Night Out Wales. Extending the Reach: Working with Young People

And now here I am (warning! Bragging ahead). I’m an associate director for The Other Room in Cardiff, I’ve been teaching a module at Trinity University, I am setting up my very own theatre company and I’m writing a funding application for a rehearsal and development period on my first piece of work as a writer. And perhaps most importantly I now only publicly share my opinions in short-form on twitter.
Looking back at my review of Love Steals for this article was painful! I was so opinionated about theatre, something that at the time I was so unknowledgeable about. I throw my opinion about like it’s the only thing that mattered. There are comments in that review that make me not want to share the article again for fear that they could stymie my career now. But at least I was honest. I said what I felt in my characteristically awkward way.
Now as a theatre maker in my own right I hope I have retained some of that honesty. I try to hold my own work up to the same brutally honest criticism that I levelled on NTW.
Love Steals Us From Loneliness is being staged again, by exciting new company Chippy Lane. In a lovely circular twist of fate I myself directed a rehearsed reading for them earlier this year. I am so looking forward to seeing the show tonight. I wonder if my opinion of the play will have changed (my opinion of Gary Owen certainly has – I’m so sorry!). But there is certainly one part of my original review I still wholeheartedly agree with:
“Hopefully this production will force those with the power to sit up and realise that Bridgend is bursting with talent and a thirst for quality theatre that requires a full time venue in the town centre that will hopefully attract more productions”
There is now an arts venue in Bridgend – Carnegie House – but it isn’t a fully functioning theatre that is ready to receive work and there is not enough of a concerted effort to develop audiences in Bridgend.
Of course it is easy for me to say all this, but what am I doing to change it? Honesty… nothing. I haven’t made a single piece of work in my hometown.
I am fully aware of my own hypocrisy.
This isn’t an online call to arms for us to crusade into Bridgend and inject some ‘culture darling’. It isn’t even me promising I will make more of an effort. It is me thinking out loud about what has started my strange journey to be sat here in Chapter Arts Centre like so many others tapping away at their laptops. It’s me realising I am not as honest with myself as I should be.
It’s me making a promise to myself that I will make work that 19 year old Chelsey would find exciting and worthy of comment – even if that comment is brutal and judgemental. I will go and see more work than I currently do (life has an awful habit of getting in the way). Or at least I will try until I once more get so absorbed in my own projects that I can’t see the wood for the trees.
Hopefully then I will read a Young Critic’s review of one of my shows and once again they will remind me that making theatre is about so much more than what other theatre makers think. It’s about sharing a live experience with a room full of other humans and being led on a huge emotional journey that has the power to change the direction of someone’s life.
Chelseys original review
THURSDAY, 4 NOVEMBER 2010
Love and Loss in Bridgend
Love Steals Us From Loneliness by Gary Owen
National Theatre Wales with Sherman Cymru
Venue: Hobo’s Rock Club, Bridgend
Dates: 7th – 16th Oct 2010
Director: John E McGrath
Verdict: ***
Review by Chelsey Gillard
Being born and bred in Bridgend I was dreading either a depressing, dark and moody look at teenage life in “the Big-End” or a telling off about how the town was so much better back in the day and that kids don’t get outside enough. The teens in this play were of course moody and bordering on depression (what teen isn’t) but they certainly got out enough! Their destination of choice was Bridgend town centre at Halloween; a place that locals know, come midnight, is full of witches and monsters all year round.
Standing in the bar waiting for the show to start I realised that someone I vaguely recognised was standing next to me looking nervous, a second look revealed Mark Sumner in the part of Scott. He was living the geeky character so thoroughly that even after years of acting alongside him in the Bridgend Youth Theatre it took me a while to figure out his identity. The karaoke microphone on the small stage was soon put to use as Scott began the play with a song interrupted by a rather gobby yet beautiful Catrin (Katie Elin-Salt) storming out of the club.
We were led into the intimate, double sided, theatre area and the play began proper. Catrin and Scott were now in a graveyard where Catrin was trying to relieve herself. The awkwardness of the situation soon forced the two- linked by their friendship and love of Lee, Catrin’s boyfriend – to not only talk, but listen. This act of the play was beautifully naturalistic, with a lot of Bridgend’s unique language captured almost perfectly, including very regular F- and C-bombs. Scott’s understated declaration of love for Catrin was realistic, funny and most of all touching. The interval came all too soon as we waited for Catrin’s response.
In the second act the metal hoops that were earlier used as seats and fences were now decorated in various personal belongings – Lee’s belongings, who we learn has died in a car crash via the brutal text message “Lee’s dead” from his mother to his sister. His shoes, clothes and car accessories constantly give this character a presence on the stage although there is never a physical embodiment of the boy who is to remain forever 17.
We are joined by three new characters; Lee’s sister Becky, played by Remy Beasley, who was possibly a secondary character but she made the part as important as all the others with a unique combination of brash charm and sensitivity. Catrin’s new boyfriend Mikey, Matthew Trevannion, who reminded me of that friend we all have that we sometimes wish we didn’t know so we don’t have to admit to any connection in public but we love deep down. And Lee’s mother Mags, superbly portrayed by Nia Roberts, who won most, if not all of our sympathy with her descent into grief- stricken meltdown.
This act flipped, sometimes ungracefully, between naturalistic speech and more poetic musings on life, love and mortality. Personally I think these musings were perhaps out of character, but they did serve the purpose of giving us an insight into each person’s journey from the hell of losing a loved one to the need to move on with life. The monologues occasionally seemed to be designed only to tug on the heartstrings and I felt more moved by some of the more underplayed lines. The bittersweet ending gave us Catrin’s much anticipated answer to Scott’s adoration; a brief kiss that had provided the fuel for Lee’s high speed death
.
Having myself acted in one of Gary Owen’s plays “Mary Twice” I must rather brutally admit that I was not expecting much from the script. Although “Love Steals” was an improvement I still feel the success of this production lies in the hands of the director and actors who used everything they were given; script, music, set and venue; to their full advantage.
My main criticism is that on times the effort the actors were making to address both sides of the audience was a bit obvious with big, although probably unintentional, flourishes when turning around and that as they we on stage for the full second half brief lapses in concentration were all too visible. Also if that is what a Bridgend accent truly sounds like I need to get myself some elocution lessons pronto!
Hopefully this production will force those with the power to sit up and realise that Bridgend is bursting with talent and a thirst for quality theatre that requires a full time venue in the town centre that will hopefully attract more productions from the fantastic NTW. The time has come for my little ugly-beautiful town to lick its wounds and move on to a bright future whilst also remembering its past, bad times but more so good.
http://hypercriticreviews.blogspot.co.uk/2010/11/love-steals-us-from-lonliness-review_04.html

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