Category Archives: Theatre

Review ‘Mamma Mia The Musical’ Wales Millennium Centre by Sarah Debnam

October 13, 2016 Sarah Debnam 1 Comment

Mamma Mia the musical opened at the Wales Millennium Centre in Cardiff this week and the buzz and excitement surrounding it meant that expectations were high.

Let’s start by saying the show began as expected, with Sophie posting the invites for her wedding to her three potential fathers, showing determination and emotion as she did so, a perfect opening scene and introduction to one of the main characters. We were also introduced to Lucy May Barker’s singing voice and what a voice! Brilliant!

We then meet Sophie’s friends, Donna and her friends and the other main characters, including Sophie’s Fathers. All of whom I think we’re perfectly fitting for their roles. Especially Donna. Sara Poyzer that plays Donna, had a hint of Meryl Streep in her energy, however a phenomenal voice to carry those fantastic ABBA songs to every corner of the room, and have every person there enthralled.

As the story moves on we were treated to classics such as ‘Money, Money, Money’, ‘Lay All Your Love On Me’, ‘Our Last Summer’ and of course the entertaining ‘Does your Mother Know?’ Which happens to be one of my favourite parts in the film, and Emma Clifford that plays Tanya did it justice. Also the men showing off their dancing skills and choreography was outstanding, especially Louis Stoical who plays Pepper with his jumps, energy and humour!

It’s worth noting the simple but very effective scenery and spectacular costume designs, as well as the incredible orchestra really bring the whole thing together.

Of course the show had to find its ending sadly and even though it’s hard to compare the stage show with the film, the wedding preparation and wedding certainly lived up to expectations, ‘Slipping Through my Fingers’ no doubt caused a few teary eyes and certainly felt like a special moment.

The party like atmosphere at the end had everyone up from their seats dancing and singing along to ‘Dancing Queen’, inhabitations lost and I’m sure everyone left that room feeling great!

The audience were clearly hooked from beginning to end, with oohs and ahhs and plenty of laughter, the cast did an absolutely amazing job of entertaining everyone last night, and even though the film was a hit, this show was funnier, livelier and had more energy. I can understand the buzz surrounding Mamma Mia now, and might even try to catch it again before it leaves Cardiff!

Theatre

Review Bouncers Black Rat Productions by Helen Joy

October 13, 2016 Helen Joy Leave a comment

(4 / 5) Absolutely outstanding!

4 men, bouncers, take us through the trials and tribulations of life on the door.

It’s funny, it’s much harder to write about something worth seeing, worth talking about. Why is that?

Is it because we are naturally more gifted at criticising than complimenting? Well, here goes.

Let me think: anything I don’t like? Nope. Anything anyone around me doesn’t like? Not that I can tell. An awful lot of cringing though; a lot of us are wincing at the characters as we see ourselves enacted, exaggerated, ridiculed – our past lives revealed in all their glory..

How do they know how women behave in the Ladies? Eurgh that is painful to watch. But we laugh till our sides ache. I am sure the men in this packed audience feel the same about themselves. I can see eyes narrowing and teeth bared in the grimaces of ‘ooh I’ve done that’.

Some really nice touches – the bouncers are in role at the doors of the Institute and the bar is open, with plastic glasses to take our wine in with us – a la nightclub!

The set is deceptively simple and lights and action flick cleverly between scenes, from dance floor to pavement to lavatories.

The bouncers are mimics, their grasp of personalities male and female perfectly belied in their body language, mannerisms, speech and form.

But it is not all lads on a night out, girls on the razz, bouncers doing a job; there is a darkness to all this light bouncing off the glitter-ball of life.

There are some very clear messages. Some clearer than others and pronounced with some pathos through our senior bouncer’s speeches (he makes 4). Lucky Eric, he isn’t.

It’s about tempers and frustrations, sadness, loss, the impact of antisocial jobs on our lives, the careless sex after careless imbibing of the demon drink.

It is using humour to make us listen and think. It is a play which shows us how so little has changed, each generation must find its way through the social challenges of finding, and keeping, a partner.

It tells us about the power of alcohol to affect our emotions, our sense of personal responsibility and our sex drive. It is about the consequences of actions taken under the influence.

We are forced to reflect on the nice girl, Susie, eating her pizza whilst being humped against a wall at the back of the club. Not so funny.

It winds down, like the party it is, to the point where we are all ready to go home.

Laughter, reminiscence and social commentary – the simple bear necessities of life have come to us. There is much to talk about.

Deserves to be on the London stage. The Abigail’s Party of Blackwood!

http://www.blackratproductions.co.uk/bouncers-2016/

Cast

Gareth John Bale
Sam Davies
Ross Ford
Morgan Hopkins

Production Team

Writer                         John Godber
Director                      Richard Tunley
Designer                    Hilary Statts
Lighting Designer     Robin Bainbridge
Running October to November, please check Black Rat Productions website for details.

Theatre

Review ‘Aberystwyth Mon Amour’ Lighthouse Theatre Company by Martin Chainey

October 10, 2016 Martin Chainey Leave a comment

(4 / 5)

When you think of Aberystwyth, do you see a university town, home of the National Library of Wales, and guest houses along a pebbly beach front? I’ll bet you don’t think of sinister druids, sleazy nightclubs, mysteriously missing schoolboys, and 24-hour whelk kiosks. Welcome to the world of private detective Louise Knight, with his raincoat, fedora and smart-talking gumshoe drawl. And say hello to a wickedly clever mix of Film Noir tropes and an affectionate ribbing of Welsh traditions.

I first read the original novel of Aberystwyth Mon Amour several years ago, and remember falling in love with the characters and the slightly surreal humour. I admit I wasn’t entirely convinced this would work so well on the stage. After all, the story takes place over a period of time in a variety of places, and features a wide cast of characters (including seaside donkeys). Most of all, I was concerned an adaptation might dilute some of the humour of its writer, Malcolm Pyle.

I was relieved to find the script has been written by the author himself, and none of its wit has been lost in translation. The dialogue is still as sharp and funny, and the story has been cleverly tweaked so that events all take place within a 24 hour period. The 20-odd characters are played by a small cast of eight. Rather than this coming across as a weakness, it actually works to the production’s advantage, adding to the playful tone. Yes, we might spot the same actor with a different costume and accent, but the characters are so likeable and well-played, you can’t help but go along with it.

As for the frequently changing scenes, a special mention must go to Simon Scullion and the set design, which is both ingenious and surprisingly minimal. By simply moving three objects on the stage, rotating them, or changing the lighting, different settings are created quickly and effectively. I totally believed I was in Louis’ office, an amusement arcade, on the seafront, in a nightclub, and even in the cockpit of an airplane. And I have to say, this was the first time I’ve seen a scenery change get its own round of applause from the audience!

Aberystwyth Mon Amour is an intelligent and witty production, which the Lighthouse Theatre Company should be very proud of. A wonderfully bonkers plot and script, clever directing and production design, and a cast who all give top notch, straight-faced performances that really bring out the humour. The audience was certainly responsive to it, and clearly had a great time. Other comedy thrillers take note – this is how it should be done.

Aberystwyth Mon Amour

Company: Lighthouse Theatre Company
Pontardawe Arts Centre, 8th October 2016
Author: Malcolm Pryce
Director: Abigail Anderson
Design: Simon Scullion
Cast: Matt Addis, Llinos Daniel, Phyl Harries, Catrin-Mai Huw, Non Haf, David Prince, Sonia Beck, Adrian Metcalf

Theatre

REVIEW: ‘THE MOUNTAINTOP’ FIO BY GEMMA TREHARNE-FOOSE

October 6, 2016 Gemma Treharne Foose Leave a comment

(4 / 5)

I was curious to see how Katori Hall and Fio would execute a piece of theatre with Martin Luther King Jr. at the front and centre. How can you successfully honour a man like Luther King without bordering on the syrupy and sentimental – and how do you cast light on the many human flaws and weaknesses that all of us (even the greatest) have without dishonouring the memory of a one of the greatest leaders of our time?

I must confess, having seen Cape Town’s Opera’s Mandela Trilogy in Cardiff when it was playing, I kept wondering during all the jubilant celebrations about his human flaws too – rightly or wrongly. It’s a really tall order for theatre-makers and they have to tread so carefully. Separating the man from the legend is an uphill struggle, I’m sure.

Essentially, it’s hard to summon up the true spirit of a real person when you only focus on the greatness. Human foibles are what make us real – and Luther King wasn’t without his moments of weakness. It is these things that make the difference between gushing tributes and a bold and honest look at such a recognisable and enigmatic man as Martin Luther King Jr.

‘The Mountaintop’ transports us back to Room 306 at The Lorraine Motel in Memphis during Luther King’s final hours on the fateful day of his execution in 1968. Dr King has been canvassing for support for the rights of sanitation workers Tennessee. He is tired and paranoid and restless. We see him scan his room for bugs from the FBI.

Played convincingly by Mensah Bediako, we watch as Luther King strikes up a passing friendship with hotel maid Camae, played by RWCMD graduate Alexandria Riley. The interplay between the two is wonderful. Camae’s playful and frank observations about America’s race neuroses provide many moments on light relief and Riley beautifully plays the part of a woman with an incredible voice and something to say – challenging Luther King’s assumptions and observations with wit and panache. The friction and tension between the two is real – but why is she here and who is she?

There’s an underlying hint (and our own assumptions lead us to believe at first) that there’s a romantic motive for Luther King wanting Camae to stay with him. We know he is waiting for something…something even he’s not sure of. The stormy thunder, projections and lighting courtesy of lighting designer Jane Lalljee and Video Designer Zakk Huein produce a nerve-wracking tension and quiet energy to the piece, leading up to the final crescendo of Luther King’s last rallying cry. The final sequence and soundtrack by Dan Lawrence is a thing of beauty.

The Mountaintop reminds us that although it may be more than 40 years since Luther King was assassinated, the fear, ugliness, the sheer wilful ignorance and blindness of the human species is as powerful as ever. The vote for Brexit, the re-emergence and emboldening of right wing political parties across Europe…and now here we are at the precipice of doom, hoping that America votes with it’s head in October. Ugliness still prevails. Luther King’s opening line ‘America’s going to hell!’ is as relevant in 2016 as it was in 1968. Have we even moved on, really?

Luther King is tortured by the death of Larry Payne – a 16 year old teenager killed during a sanitation worker march, a few days before his own death. ‘I will never forget that name’ Luther King says. But Larry Payne’s death has now been surpassed by so many other senseless deaths – Rodney King, Michael Brown, Eric Garner. Unarmed black men killed by so-called protectors of peace. How can we prevail when we are governed by the politics of fear?

And yet…and YET, as this stunning play reminds us – positivism and hope somehow remains. In the moments of darkness, there is light. We must fight back We must endure and go on. The Occupy protests, The Arab Spring, the Black Lives Matter movement all serve to remind us – we’re still here, we’re hopeful. Maya Angelou’s words are ringing in our ears and are hinted at in the heart of this production: ‘You may shoot me with your words, you may cut me with your eyes, you may kill me with your hatefulness, but still, like air, I rise’.

This is the kind of powerful theatre that will evoke a raw and visceral reaction – and there are plenty of these moments, leaving your heart fit to burst and your belly doing flips. Riley’s fiery speech (wearing the suit and shoes of Luther King), the absolutely phenomenal segment where Camae and Dr King look to the future and catch glimpses of the wonders and the ugliness yet to come as well as Bediako’s final rallying cry, standing on that pulpit.

The powerful and emotional reaction you will no doubt encounter watching ‘The Mountaintop’ really is testament to Katori Hall’s incredible script. This is theatre that will pack a punch, leaving you sweating, crying and completely rung out. There are no other words to say than ‘Wow.’

Type of show: Theatre

Title: The Mountaintop

Venue: The Other Room, Porters (Cardiff)

Dates: 04 October – 15 October, PN 5th October

Writer: Katori Hall
Director: Abdul Shayek
Producer: Shane Nickels
Stage Manager: Katie Bingham
Lighting Designer: Jane Lalljee
Sound Designer: Dan Lawrence
Video Designer: Zakk Hein
Cast: Mensah Bediako & Alexandria Riley

Running time: 1hr

Produced by Fio in association with UWTSD, NTW, No Fit State, Theatre Royal Stratford East, WMC, UCAN.

Theatre

Review The Revlon Girl October Sixty Six by Kat Leslie

October 1, 2016 Kat Leslie 2 Comments

(5 / 5) – Unmissable

The Revlon Girl is a heart-breaking, tear jerking story about the aftermath of the Aberfan disaster that happened in 1966. In the play a group of mothers who lost their children in the disaster meet in a room above the Aberfan Hotel 8 months later to discuss the events of the disaster. However, no one knows that a representative from the makeup company, Revlon, is meeting with the mothers to give them all a talk on beauty tips.

This moving production will make you laugh as much as you will cry (or at last I did) and will shine a light on some very important life lessons. In the trailer for this play, Bethan Thomas spoke about how it shows that you don’t just have to deal with your own grief, but other people’s too. You fall in love with these characters and you cry for them. It was a phenomenally emotional story with powerful acting from an all female cast consisting of 5 amazing actors.

The Aberfan disaster is something that everyone in Wales will study in Welsh class, but really, none of us know what actually happened and could never understand the pain it caused. The Revlon Girl sheds light on the effects of this historical event.

This down-right fantastic piece of theatre is about the mothers own ways of dealing with the grief, it’s about women and how they are portrayed. I think the writer Neil Anthony Docking and director Maxine Evans showed this beautifully in this motivating show. You see from start to finish, each woman’s journey and how each of them learn to cope in their own unique way.

This phenomenal production is worth the time and I would defintely recommend this play to everyone.

Pontardawe Arts Centre, South Wales
Author: Neil Anthony Docking
Director: Maxine Evans
Running Time: About 60 minutes

Film & TV, Theatre

Time Credit earn & spend by Gemma Treharne-Foose, Community Critic for ‘Get the Chance’ Wales

October 1, 2016 Guy O'Donnell Leave a comment

When I joined the ‘Get the Chance’ team (reviewing live theatre and performance as a network of ‘community critics’), I wasn’t fully aware I’d be getting Spice Time Credits in return and quite surprised to receive them! I had some previous awareness that Time Credits were something people got ‘out there in the community’ – perhaps for doing voluntary work at a local community project or initiative. I had no idea you could actually receive time credits for writing and reviewing live theatre. I hadn’t thought of myself as ‘volunteering my time’ as I already kind of felt like I had won the lottery doing something I loved doing anyway. If you are part of a wider conversation, helping to increase accessibility and creating more knowledge and awareness of the arts for all – you too are a volunteer, an ambassador and a cheerleader. You’re using your skills and strengths to break down barriers and act as a bridge between theatres and non-traditional or possibly first time theatre goers and I’m really glad that Spice recognises this.

https://youtu.be/3KDhKBd2VCA

The great thing about Spice is that they are a form of currency: a way of trading your time to get a sort of ‘passport’ to do the things you love. If money is an issue, this doesn’t matter, you can use time credits for anything from local leisure services to high-brow theatre. They can travel with you – I’m off to London on the Megabus next week. I may decide to spend the time credits I earned writing about Welsh theatre to take in a show at the Barbican with my hubby. I’m on a budget weekend, but I won’t let that stop me! Time Credits makes this possible and they’re recognised all over the UK, which is great! So far I have used my time credits to spend an afternoon with my daughter jumping and running wild at ‘Jump’ play centre in Llanishen and I’ve spent several lovely afternoons watching family movies in Chapter Arts Centre with my husband and little girl Lili. Writing about theatre may be ‘my thing’, but I love sharing the time credits with my family for fun (cheap!) afternoons out. They were really handy in the holidays when money was getting tight! Chapter Arts Centre is wonderful when it comes to booking tickets, very family friendly and relaxed. I also like the fact that there’s no in-your face aggressive marketing of overpriced snacks (Which can push your average cinema outings up to £50 or more for some families). Chapter even has a ‘no munching’ rule. You’re there for the movies and good vibes anyway, not stuffing your face full of crisps and chocolate (plus if you really need a feed: use the lovely Chapter cafe!). Quite a few times over the last few months, my family and I have driven to Chapter, parked for free, used our time credits to pay for a family movie then taken a walk in the park afterwards. You don’t need to spend big money to make memories, but it helps if you have a few time credits in your pocket!

http://www.justaddspice.org/get-involved/get-started-with-time-credits

Theatre, Uncategorized

BSL review ‘The Good Earth’ Motherlode Theatre Company by Stuart Parkinson

October 1, 2016 Guy O'Donnell Leave a comment

This is a BSL review of The Good Earth by Motherlode Theatre Company performed at Chapter Arts Centre, Cardiff. A written transcription is available below the video.
It was interesting recently I saw a play named ‘The Good Earth’

An interpreter was provided called Julie Doyle. She was fantastic. The story was emotional. It was emotional though seeing change. Various people moving away. The spirit of the community was changing.
I became to understand Valleys and appreciate community. Change is not nice as when people do not people move away the spirit of the community changes
It was interesting to see the actors use chairs and tablets to show destruction

The Interpreter’s role did shift which is important to see and identify which character was talking.
At the end of the play I reflected it must be nice to live in a close knit community in the valley.
If you haven’t seen the play please do watch it.
Thank you
http://motherlodetheatre.com/thegoodearth/#thegoodearth/about

Theatre

REVIEW AGATHA CHRISTIE’s ‘THE MOUSETRAP’ BY JAMES BRIGGS

September 29, 2016 James Briggs Leave a comment

(4 / 5)

When looking at Murder Mystery stories it is extremely rare to find someone as talented and well-loved as Agatha Christie. On the 25^th November 1952 Agatha Christie’s ‘The Mousetrap’, opened in the West End and has been running ever since, meaning the play is celebrating its 60^th Anniversary. To celebrate this momentous occasion the production company have taken the show on tour around the UK allowing a whole new audience to watch and enjoy.

Being an avid fan of Dame Agatha Christie I was very keen to watch this play as I wanted to see how similar the play would be to some of her most well-known work such as Miss Marple and Hercule Poirot. I must say that the play certainly does not disappoint and holds all of the key Agatha Christie characteristics to make it recognisable and familiar. Everything about ‘The Mousetrap’ seems very familiar as though we’ve read the story before. The play is set in a country house with oak-panelled walls with hidden back stairs and linking passages. It is the sort of house someone can leave the room by one door and reappear through another so you can never be too sure of where every character is. A snow blizzard takes hold and all of the roads soon become blocked to add to their problems the telephone is not working and on the radio there is a story about a murderer on the loose. The house is full of the usual range of Cluedo style characters that have never met each other before. Is there a chance that one of these people could be the murder? All of the characters have their own secrets and as you would expect from an Agatha Christie mystery, the story is full of twists and red herrings.

Three of the play’s characters Sgt Trotter, Mr Paravicini and Miss Casewell.

The characters are extremely well-defined and all very different and eccentric in their own ways. The cast of the play work really well together. Anna Andresen and Nick Barclay create a fitting partnership for Mollie and Giles Ralston showing well their nerves about their first attempt at running a Guest House. Sarah Whitlock portrays brilliantly the straight-talking, no-nonsense Mrs Boyle. Whom I thought had similar characteristics to that of Miss Marple as portrayed by Dame Margaret Rutherford. Amy Downham gives us a very secretive and mysterious Miss Casewell leaving the audience with many questions as to whom she could be. Gregory Cox is wonderful as Mr Paravicini and somehow seems to have created the character similar to that of Hercule Poirot. Oliver Gully is fantastically mad as Christopher Wren positively bursting with energy. Tony Boncza is ever so the retired Army type as Major Metcalf and Alan Magor played the part of Police Sergeant Trotter, a very good portrayal of a typical Agatha Christie detective putting all of the clues together and drawing all the attention of the audience.

Hercule Poirot and Miss Marple two characters created by Agatha Christie.

I simply must mention the divine set that was created for the play which was made in such a way that it felt homely and inviting for the audience. The use of lamps on stage bought a sense of comfort for the audience and also an element of reality. The large wooden panels with the period furniture gave the audience a wonderful setting for the story to play out.

The UK tour trailer for ‘The Mousetrap’.

I highly urge everyone to see ‘The Mousetrap’ whether you are an Agatha Christie fan or not. It is a wonderful ‘who done it’ mystery that is guaranteed to get you trying to solve the case. With endless twists and turns the audience are kept on the edge of their seats. But you must remember that EVERYONE is a suspect!

The Mousetrap is currently on a nationwide tour and tickets are available via this link –http://mousetrapontour.com/

Theatre

REVIEW: ‘KILLER CELLS’ BY GEMMA TREHARNE-FOOSE

September 29, 2016 Gemma Treharne Foose Leave a comment

(3 / 5) “Heartfelt and raw ”

Killer Cells is one of those plays that comes with some level of uncomfortable awareness for audience members. Having read the synopsis and marketing for the play, you know you are in for a potentially difficult watch. Valleys theatre company Avant, who are carving out a name for themselves as crafters of challenging, up-close-and-personal theatre, did just that tonight. They did not shy away from the stigma of the topic of miscarriage and they have clearly experimented with a number of new approaches to tackle the subject.

The production took place on one of the Park and Dare’s smaller spaces, creating a more personal feel, audience members were faced with clinical blue lights, a gurney and a medical trolley. We follow the experiences of a few women, their partners and the medical staff who deal with miscarriage and the after effects every day.

We see what happens when the banal aspects of our everyday lives – jobs, planning weddings, going out and meeting friends – all pale into insignificance when we are faced with the limitations and challenges foisted upon us by our own bodies and biology. We take for granted that within us there may be hidden factors at play, completely beyond our control that can cause so much suffering and pain.

Avant have attempted to demystify and shine a light on the hidden heartache of miscarriage. The play shows how we live our lives and our dramas via our phone – obsessing over every pregnancy milestone, reaching out to others, communicating our news and our heartache when pregnancies don’t go to plan – a screen on stage plays out the texts, the internet searches, the statistics we are warned about, the dangers we read about.

How well these vignettes and mini on-screen dramas featuring other characters work with the action on stage, I think is still being worked out as Avant develop and experiment with the script and artistic/presentational elements. The audience were invited at the end to give feedback and help shape the play and speak to the cast and it is really lovely to see this kind of collaboration and inter-mingling with the audience. This is what small venues like the Park and Dare do best.

The on stage cast gave some tender and evocative performances and all had an individual strength about them. The fragility of Rachel Pedley-Millar’s character, the warmth of Yannick Budd playing both a nurse and a father, Darius Nash’s chilling depiction of a clinical practitioner perhaps over-medicalising what is a deeply troubling time for parents.

The stand out scenes for me came via Hannah Lloyd, when her character experienced a traumatic ectopic pregnancy. Those screams I think will haunt my dreams forever. There’s a gripping drawn-out scenario where two doctors are trying to find a vein on one of the women who has been through multiple miscarriages. As Emma Macnab’s character is poked and prodded and patched up with multiple needles (while simultaneously trying to hold it together), it feels almost intrusive to watch.

There is some clever language at play as Doctors use medicalised language and labels to explain a life-changing and devastating situations – the removal of the baby is described as ‘clearing the mass’. We are introduced to the world of hCG levels, Hughes Syndrome and Endometriosis.

All these names will no doubt be familiar to a shocking 1 in 5 women who experience a miscarriage, yet the taboo of silence and mystery all around it is pervasive. While this type of topic may not be everyone’s cup of tea for a night out at the theatre, I’m really pleased to see community theatre companies like Avant not being afraid to tackle difficult subjects and push the boundaries. Killer Cells is a bold and honest look at the reality of miscarriage, I look forward to seeing how the play develops – and I’ll definitely be looking out for their shows in the future.

Theatre

Review The Ghost of Morfa Colliery, Theatr na nÓg by Helen Joy

September 25, 2016 Helen Joy Leave a comment

(4 / 5) Highly commended for welcome and interaction

Here we go. Firstly, what a welcome – the foyer is buzzing with invited guests, there are miners lamps and dolly pegs on lace cloths on the tables, the bar is open and Theatr na nÓg is meeting and greeting all of us, personally. Delightful.

All photographs by Simon Gough Photography

We are ushered into the black womb of the theatre and the magic begins. And there is magic all right! A young man sits on a swing on a green sward, reciting; a lady walks towards him echoing his words. This is a story of mining, community, family, chapel and ghosts. The ghosts tell their tale – all these folk are long gone but alive to us this night. They tell their story of hopes and fears, of aspirations and loss, through clear direction, straightforward acting and an effective stage set. And with magic.

It makes me sorry that I have not heard of this disaster down a spooky mine part under the sea of the Bristol Channel. It makes me think about the boys and men who worked there and the women who kept the home fires burning. A burning mine too in fact.

The tale is told through 5 characters – some true – a mother, her son, his friend, her brother, his wife and a chapel going gossip. It juggles through truth, fiction and fantasy – diaries, books, monsters and mining reports. It makes us think about the relative powers of the spoken and the written word. What is history other than aversion of events from a point of view?

The classic comedy scene dropped in – the quick change, the drag, the chapel go-ers squashed into a pew and watching us watching them. Joyous!

Magic! Oh the magic makes us jump! Too scary for children? Too scary for grown-ups! We were out of our seats, oohing and aahing as lamps moved, spectres appeared and disappeared, our young hero too.

I love it! And I am surrounded by people who love it too.

Afterwards, there the cast and crew come to the stage and we are invited to ask questions. Typically, the best ones come from the youngsters in the audience. The best replies come from the magician…what ghost?

We pile back into the foyer where there is a miner’s lunch buffet of local cheeses, bread, pickles, bara brith and Welsh cakes; not sure miners would have had the wine options tho. Theatr na nÓg again does what it does so well, talks to us and listens.

A memorable evening for many reasons.

Today, I met a friend for coffee and said this: if you have to choose between a ticket for the opera or a seat at The Ghost of Morfa Colliery, choose the latter.

Coal by critic Helen Joy

http://www.theatr-nanog.co.uk/ghost-morfa-colliery

Enjoyed: 21^st September, 2016, at The Dylan Thomas Theatre, Swansea

Running: September to October for schools, see website for details

Cast

Richard Nichols

Aled Herbert

Tonya Smith

Jack Quick

Production Manager

Geraint Chinnock

Designer

Kitty Callister

Lighting Designer

Elanor Higgins

Stage Illusionist Consultant

James Went

Sound Designer

Gareth Brierley

Stage Manager

Sasha Tee

Stage Manager

Brynach Higginson

Assistant Director

Daniel Lloyd

Composer

Jak Poore

Writer

Geinor Styles & Mali Tudno Jones

Director

Geinor Styles

Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw