Babulus
Tower of Babel, says a friend next to me.
Communication, that’s what it’s about, she says, all the different ways of communicating.
I’m not sure about the bear, I find the bear creepy. Oh, she says, I like the bear.
Did you like the dance as a whole? Oh yes, mesmerising. I like going to things with you, I see things I wouldn’t otherwise see.
I see things I wouldn’t otherwise see. This is one of them for me too.
I was facilitating art classes last week with older people in hospitals and care homes and one of them, Brian, was unable to speak or hear. Don’t worry, the nurse said, he will make you understand him. And he did. Brian painted flowers, big colourful flowers. We chatted with our hands, our faces and our paint. We did not need to use our voices. It was a dance between two people.
Babulus is a dance between five people, one of whom is a bear now and again. A bizarre, fluffy, comedic yet sentient and sympathetic character to foil the darker elements of tied hands and closed mouths. I still found it creepy. The clown in the classroom, the slapstick to the poignant. I realise that this is just me – everyone else loved the softer element, the balance, the reference to a childhood toy. I still have my Bear, he sleeps with me still and he is my most valuable possession so I do get it, I get the thinking, I just don’t like it until I watch her loose a dancer’s bonds, quietly, softly.
But the dance itself? Oh it is superb. The dancers come together, push apart, come together, push apart using movement, chatter, language, sticky tape, song and light. They are beautifully choreographed, they are beautifully lit. It is mesmerising. There are two themes I particularly like: the holding of hands over each other’s mouths; and the bunching together babbling in their mother tongues. I like that they emerge from behind us, that they make eye contact with us, that they threaten us and engage with us. They laugh with us too.
It is the dance between two people, one with his hand over her mouth with her twisting away to speak, that I will remember most – they roll into and over each other in a balletic, deceptive, controlling, power struggle. I wish I could see this again and again. It called to me.
It is also one of the best after show discussions I have ever attended. The performers, dancers, are as engaging vocally as they have been throughout their piece. Clever, open, responsive to their audience, they are indeed communicating at all levels. Not babbling at all, really.
Event: Bablulus
Seen: 1930, 17th February, 2017
Reviewer: Helen Joy for 3rd Act Critics
Running: Friday 17 February – Saturday 18 February
Cost : Tickets: £12/£10; Age 11+
Running time: approx. 50mins
Links: http://www.chapter.org/babulus
Production: Gwyn Emberton and ilDance collaboration
Music: Oscar Collin
Lighting and design: Joe Fletcher
Direction: Sara Lloyd
Babulus was created and toured with the support of Arts Council Wales, Gothenburg International Theatre and Dance Festival, The Work Room, Wales Arts International, Göteborg Stad, Västra Götalandsregionen, NDCWales, Ballet Cymru, Balettakademien Stockholm, Konstnärsnämnden, and Arts Promotion Centre Finland.
Category Archives: Theatre
REVIEW ANTON AND ERIN SWING TIME, ST DAVID’S HALL BY JAMES BRIGGS
“I’m puttin’ on my top hat, Tyin’ up my white tie, Brushin’ off my tails” to welcome the fabulous Strictly Come Dancing duo Anton Du Beke and Erin Boag. On Sunday 19th February a packed crowd at the St David’s Hall was treated to an afternoon of high class ballroom dancing from two of Strictly Come Dancing’s most famous dancers.
I must say I was extremely excited before watching this show as I am a big fan of Strictly Come Dancing and really love ballroom dancing so for me this show was a dream. The brilliant dancing duo was accompanied by a whole host of other dancers who were just as brilliant. The three male dancers easily kept up with the style of Du Beke and they were Scott Coldwell, Luke Field-Wright and Adam Lyons. The ladies dancing within the show were equally as brilliant and gave the same grace as Erin Boag. The brilliant ladies dancing were Hayley Ainsley, Victoria Hinde and Francesca Moffat.
Alongside the brilliant dancers within the show there was also a fabulous orchestra namely that of the London Concert Orchestra. Anton Du Beke himself joked about how he would have had the Welsh Concert Orchestra only they were too expensive. The London Concert orchestra was conducted by renowned conductor Richard Balcombe. The orchestra accompanied a very special guest singer for the show Lance Ellington who is one of the singers on the show Strictly Come Dancing. His voice was brilliant and worked very well with the music chosen for the show. He even joined in with some of the dances and certainly showed how massively talented all of the performers are on Strictly Come Dancing.
All of the brilliant dances were choreographed and directed by Nikki Woollaston who has worked on productions such as 42nd Street at the Theatre du Chatelet and many other tours with Anton Du Beke.
All in all Anton and Erin put on a fabulous show that really is a joy to behold. With such magical dance numbers and brilliant performances it really is a show not to be missed. So if you have chance to watch this amazing duo performing grasp it and just “face the music and dance”.
Tickets for the tour around he UK are available via – http://www.antonanderin.com/_blog/The-Anton-And-Erin-Blog/post/swing-time—our-2017-tour/
Review Sunny Afternoon, Venue Cymru by Donna Poynton
Sunny Afternoon charts the rise of 1960s British rock band, The Kinks and if you don’t already adore their incredible back catalogue, then you will after seeing this hit musical.
Upon entering the auditorium we see an open stage, able to look upon the band warming up and the simple, yet extremely effective set which, throughout, allows the stage to be transformed from a teenager’s bedroom in a Muswell Hill flat to the rock ‘n’ roll stage at Madison Square Gardens, New York.
The costumes are wonderfully reflective of the time and are a nostalgic time travel back to the fashions of the era. In fact, one of the stand out musical numbers ‘Dedicated Follower of Fashion’ sees Dave Davies donning a sharp suit and a feather boa whilst the rest of the band perform a dance routine with shop mannequins-utterly good fun!
The band’s story lends itself perfectly to its musical adaptation; a rags to riches tale with plenty of love, heartache, fame, fortune and even a few punch ups! But this is more than your average jukebox musical with every piece of music beautifully intertwined within the narrative including a stunning acappella rendition of ‘Days’ and a show stopping version of ‘Sunny Afternoon’ which combines a hark back to England’s 1966 World Cup victory (and could easily have been the finale!)
The production includes a stellar cast who not only provide various reincarnations of the story’s colourful characters but who also play a number of musical instruments throughout the piece (kudos to Andrew Gallo as Mick Avory for his immense drum solo!) Special mention must also go to Ryan O’Donnell as Ray Davies and Mark Newnham as his brother Dave-both flawless performances.
“Will they still be playing it in 30 years time?” asks lead singer Ray Davies, talking of his self penned title song. Well, it’s been over 50 years and I’m now evermore convinced that this ground breaking music will live on for a lot longer yet!
Venue Cymru, Llandudno
February 14th-18th 2017
Authors: Ray Davies music and lyrics, Joe Penhall book, based on an original story by Ray Davies
Director: Edward Hall
Design: Miriam Buether set and costume, Rick Fisher lighting, Matt McKenzie for Autograph sound
Musical Supervisor : Elliott Ware
Choreographer: Adam Cooper
Technical: Tom Nickson production manager, David Curl company stage manager, Deborah Andrews costume supervisor, Carole Hancock at Hum Studio wigs, Robyn Hardy, Hannah Sharp props supervisors, Suzanne Crowley, Gilly Poole casting for Hampstead and West End, Natalie Gallacher for Pippa Ailion casting for West End
Cast includes: Victoria Anderson, Nathanael Campbell, Tomm Coles, Deryn Edwards, Andrew Gallo, Richard Hurst, Sophie-Leigh Griffin, Mark Newnham, Ryan O’Donnell, Garmon Rhys, Joseph Richardson, Robert Took, Michael Warburton, Libby Watts, Lucy Wilkerson, Lisa Wright
Producers: Sonia Friedman Productions with Tulchin Bartner Productions, Greg Ripley Duggan for Hampstead Theatre Productions, Tanya Link Productions, Just for Laughs Theatricals/Glass Half Full Productions, Rupert Gavin
Running time: Approximately 2 hours and 45 minutes (with a 15 minute interval)
Review Frankenstein, Black Eyed Theatre, Greenwich Theatre by Hannah Goslin
(4 / 5)
Anyone who is anyone at least knows the main premises of the classic, Frankenstein. Depicted over the years from the original novel in films, television, even costume at Halloween by the kids that knock on your door asking for mounds of sugar.
This is what makes this production such a challenge – how do you take something so well known and turn it into something that feels fresh, new and still a surprise?
Black Eyed Theatre have gone back to basics – they have taken the story and been true, reverted back to original theatre with keeping to the era, to the proscenium arch, no audience interaction and while this sounds unoriginal, it’s actually refreshing that they haven’t decided to take some modern take or make it some metaphorical twist on the story. Sometimes, keeping to the original is extraordinary in itself.
But while they do this, they still make it original to their company – with only four members of the cast, everyone pitches in – music and sounds are made on stage with instruments, objects and their own body and voices; times when the characters are changing, this leads to a change in instrumentalists and this is done with no pause of hesitance making the doubling up of characters and the atmosphere made by sound seamless.
Each performer (except for Frankenstein) at least has a minimum of two characters to play – there’s a sense of melodrama to this as at times the gestures and characterisation are a little hammed up – this does provide a little comic relief which is helpful in keeping us upbeat and ready for shocks and surprises when we are also being drawn into the deteriorating mental state of Frankenstein but they also play each character very well, letting us forget that they are only a cast of 4.
The highlight for me, as a huge collector of and interest in, is the puppetry. How do you make a huge muscly monster of 6-7ft tall? The National Theatre Saw Benedict Cumberpatch and Johnny Lee Miller in costume and mask created especially for them each, changing the character they played each night and this was a triumph itself. Here, Frankenstein is a full sized puppet, movement and speech only being possible with a minimum of 3 of the performers. Made of rope, it has been made in such a way as to represent his strong muscular form, and with the head with moveable mouth and eyes, he is eerie, frightening and also pulls at your heart strings. One performer providing the simplistic voice, and the others providing soundscapes to represent echo and give a horror atmosphere, we are sucked in and see only a 5th member of the cast, not a puppet.
Frankenstein is clever, truthful to the novel and an inspiring approach to theatre and classic text.
Review Skylight, Theatr Clwyd by Gareth Williams
(4 / 5)
There is a moment in Skylight, David Hare’s award-winning 1995 play, where businessman Tom talks about religion and spirituality. He declares his admiration for the former due to its rules and expectations of behaviour. He dismisses the latter as wishee-washee and unreasonable. This observation tells us a lot about his character. It is the reason, he declares, why he and his late-wife Alice were incompatible. This declaration is made to Kyra, a schoolteacher with whom he had an affair some years ago. The play centres on a visit by Tom to her flat some years later.
In Tamara Harvey’s 2017 revival, part of Theatr Clwyd’s opening season, this flat is a fully-functioning abode. Jeany Spark, bringing a quiet strength to the role of Kyra, is tasked with running a bath, making tea, washing up, and cooking Spaghetti Bolognese. It is no small feat, but judging by the smell, the latter is a resounding success. Yet this realism isn’t just for show. It serves to bring Hare’s brilliantly sharp satire to life, adding an extra layer of verisimilitude that makes for an engrossing two-and-a-bit hours. Harvey’s production doesn’t overshadow the script; rather, it enhances it, particularly through the set design. The flat is supported and surrounded by giant breeze blocks, representing a simple yet effective image which blends seamlessly into the background. There is ambient lighting throughout, with simple fades into day and night. The layout of the flat ensures that the important action takes place centre stage whilst not compromising on its realist look.
Spark and Villiers strike up a commendable partnership. They capture the punchy and witty nature of Hare’s script even if they don’t seem to hit the emotional heights one might expect. Instead, both play their characters with a good measure of self-control. They are like two players in a verbal tennis match, each hitting a weighty serve of political conviction and personal revelation but never quite achieving that emotionally-satisfying ace. But what you lose in emotion, you gain in the clarity of Hare’s script. They deliver their lines so cleanly and clearly that you are under no illusion as to their beliefs and values. And this extends not only to religion, but to politics, business and human interaction too.
It was a real joy to witness this production. It is surprising that Skylight has not been performed more since its initial run. Harvey is to be commended for bringing it back to our attention. Its relevance within the modern political landscape should not be underestimated.
https://www.theatrclwyd.com/en/whats-on/skylight/
REVIEW: ‘SINNERS CLUB’ BY GEMMA TREHARNE-FOOSE
“A clever and interesting production fronted by an incredible musical talent…”
(3 / 5)
Fresh from the magic and wonder of ‘Wonderman’ at the Tramshed in 2016, ‘Rock and Roll Theatre’ production company Gagglebabble are back: this time at The Other Room, a pub theatre making a mark in Cardiff as an edgy hub of experimental, cutting edge theatre.
Partnering with Theatr Clwyd, a company keen to push the boundaries with their productions, this ‘gin-soaked blood and guts’ production kicks off The Other Room’s ‘Outliers’ season.
Exploring the dark underbelly of human nature, the production aims to tell the story of Ruth Ellis the last woman in the UK (originally from Rhyl) to be hanged.
Lead actor, singer, musician and composer (phew!) Lucy Rivers is the first writer in residence for Theatr Clwyd and she, along with band ‘The Bad Mothers’ have created an interactive stop-start ‘live recording session’ experience.
From the start the scene is set, the audience are ushered into the tiny smoky space, resembling a living room-come-recording studio. We witness the preparation for the session, the banter between the band and the studio manager’s voice directing the session.
The space is deliberately compact; audience members will feel at times they are eyeball to eyeball with the singer. It feels intensely personal and almost uncomfortably intrusive and this potency and crossing of the boundaries is actively encouraged and played with throughout the piece.
Audience members help deliver lines, help Rivers with costume changes and even help her take off her boots. Later, another audience member is given a musical instrument to play and the band pass around a bowl of turkish delight after Rivers has a bit of a wobble and the ‘recording session’ takes a break.
A very loose chronology unfolds of the life of Ruth Ellis. But where her story and the story of other women untangle themselves didn’t really become clear to me. At times I wasn’t sure whose story was whose and details of the different stories clashed or contradicted themselves. Was this Ruth’s story or someone else’s? I never claimed to be the quickest off the mark and my brain may have been fried by 9 hours of office time beforehand but…I struggled a bit.
There was one passing line in reference to Ruth Ellis being from Rhyl, but the production focuses on human relationships in the main. I would have enjoyed a bit more detail / exploration of Ruth’s identity as a Welsh woman and her ‘trial by press’, though there are extracts and snippets of pictures/clips here and there in the audio visuals and soundtrack. Her experience could have been anywhere but it could have been interesting to pick up on these elements, too.
Between the compelling and beautifully crafted musical score, Katy Morison’s lighting, the costume changes, the sound effects, asides and audience jokes, the mini in-between scenes, the projections and the video, it might be difficult for some audience members to follow in places.
The play does very successfully embody the spirit of a true recording session – at times you feel as though you are in an actual drama or at a jazz club, but I can’t hand on heart say I felt like I truly appreciated or understood the true character or true story of Ruth Ellis.
I think what the production does manage to do well is to use Ruth Ellis as a posterchild/an example of the wronged woman, the rebel, the slut, the non-conformer, the loose woman. She embodies the fear, distrust and objectification of women. Women like Ruth Ellis are interesting not only because of the crimes they have committed but because they have deviated so very far from the gender-specific norms and usual trajectory of the ‘wife and mother’ that is part of the status quo even now.
We all have wickedness and weaknesses within us, this was a theme throughout Sinners Club. These themes are wonderfully weaved into the songs, supported and lifted by The Bad Mothers, who help add richness and depth to the experiences in the play with their moody riffs and melodies.
How well Sinners Club translates the ‘voice’ or experience of Ruth Ellis, I can’t truly say, but one thing that was the absolute driving force of this production was the sheer un self-conscious magnetism and watchability of Lucy Rivers, who commands the attention of everyone in the room at all times.
This was not quite the play to watch after a long day at work or if you have any sort of aversion to strobe lighting (I had to close my eyes tightly as my eyes couldn’t take it!), BUT this really is a clever and interesting production fronted by an incredible musical talent.
For most people this will not feel like the type of lazy ‘switch off and smile’ theatre you might have grown comfortable with – this is theatre that challenges you and forces you to question what it is you’re watching, to ask questions of it and yourself. This is something Gagglebabble are really good at producing and based on what I have seen so far – the ‘gig-theatre’ approach is never dull or routine. It is basically a theatre version of a bag of Revels.
This was an amazing start to The Other Room’s ‘Outliers’ Spring 2017 season and now that this tiny theatre with a big presence has won ‘Best Theatre of the Year’ at the 2016 Stage Awards and a clutch of other prizes at the Welsh Theatre Awards, I really can’t wait to see what comes next. Expect more great things from these guys…
Type of show: Theatre
Title: Sinners Club
Venue: The Other Room, Porters (Cardiff)
Dates: 7th – 24th February (PN 9th Feb)
Writer/Composer: Lucy Rivers
Directed by: Titas Halder
Singer: Lucy Rivers
Band: The Bad Mothers
Lighting Designer: Katy Morison
Sound Designer: Sam Jones
Video and Projection: Nic Finch
Running time: 1hr 45min (approx)
Produced by: Gagglebabble / Theatr Clwyd / The Other Room
Review Escaped Alone The Royal Court by Hannah Goslin
You can listen to Hannah’s review below, the written review is below that.
(4 / 5)
As I have previously stated, Caryl Churchill is easily one of my favourite playwrights. After seeing ‘Pigs and Dogs’ a few months earlier, to hear that this production of ‘Escaped Alone’ is only 50 minutes long is not surprising. While not all her plays are so short in time in comparison to a lot of productions on the theatre circuit at the moment, there is something really clever and interesting that she is able to condense so much emotion, thought provocation and comedy in a small amount of time, with the ability to make a serious point about current times.
Escaped Alone sees 4 older women sat in a garden, talking about whatever comes to mind. In 50 minutes we hear their darkest fears and confessions, with each character being established easy, quickly and well, not only with the writing but by the performer’s abilities. We have times of conversation which borderlines Harold Pinter’s coined writing of short sentences, interruption and pause, soliloquies of the characters and what they are really thinking and feeling away from the conversation, and our newest member of the gang who had happened to stumble on this group, breaking away from the scene entirely to give us a description or perhaps prediction of how man and his obsessions and excess have impacted our World; apocalyptic in ideals, it is strangely darkly comical but also slightly frightening.
Some will recognise and feel star struck by the cast – Linda Bassett, our newbie to the group, is well known for her role in the current show Call The Midwife; Deborah Findley, the lady with an irrational fear of cats, from many roles, notably the recent The Lady in the Van and a return to The Royal Court stage from The Children back in December 2016; Kika Markham, our lady with a fear of going outside, also well versed in UK television such as Mr Selfridge and Call the Midwife; And finally our funny lady of manslaughter, June Watson, another regular to The Royal Court and of whom joined Findley in The Lady in the Van. These regulars to our TV, Film and Theatre scenes of course know their theatre, know their skills and simply comparing them from this production to former roles can see that with age, certainly comes experience. They are able to complement one another, bring a sense of naturalism and realism to the piece, so that when we have cut aways and taken from the scene to monologues, it breaks the ease and breaks this natural barrier – we are then not just listening to 4 women chatting over a cup of tea.
Again, The Royal Court never ceases to amaze. With each production, they are able to take such natural and seemly relatable texts and turn it on its head. A simple garden scene, is then punctured by bright lighting and dark and deep dialogue. It really becomes an experience, and in the context of Escaped Alone, creates uncertainty (that we welcome) as to whether parts are comical, serious, or a farce.
Churchill and The Royal Court gel together better than tea and biscuits.
Review Pink Mist Sherman Theatre
(4 / 5)
Pink Mist, Owen Sheer’s highly acclaimed verse-drama, follows three cocksure Bristolian teens as they venture out of their mundane lives and into military, service and manhood. It is a story passed from generation to generation. What is duty and honour?
There is a reading below of Laurens review to listen to.
When discussing a piece of theatre – in those post-show discussions, with friends, when you are so casually trying to assert your immensely dominate intellectualism and philosophical nature over them – there always seems to be that continuous occurrence of certain words within your vocabulary, or maybe that repetition just shows my own intellect… but, to me, Pink Mist is simply beautiful. Beautiful, bold, and stunning. Heartrending, really.
Pink Mist is alight. Flickering then scorching, but that’s just good theatre, really. It is Sheers, however, that kindles the human psych through his poetry. I say poetry, not poetic language, not verse-drama, or monologue, because Sheers is massively contributing to the changing face of contemporary poetry. In a recent interview with Owen Sheers, he claimed that young people bring an electricity and an energy that cannot be compared, as audience members. It’s true. The school-trippers were out in mass, and they jumped, and they cried, and one girl gave the most, devotedly, dramatic gasp, I’ve ever heard! I’ve never seen an audience so willing to stand on their feet, other than in a school hall for their grandchildren. Teenagers really feel when given an outlet to do so. Young people really invest in stories, they’re less restrained and emotionally analytical, and they’re waiting for their own to begin. In Pink Mist that Sheers gives an extraordinary level of investment and empathy to the voices of these young people.
https://youtu.be/MFOiT6e__h8
George Mann’s movement is captivating, compassionate and spirited. Technical aspects stimulated a sensory bombardment and affirmation. Both give scope to the artistic possibilities which the piece, furthermore, inspires. The piece, somewhat, enigmatic and abstract proves to challenge the given understanding, the status quo and the audience’s perception. And that’s why, I think, young people can fly with the piece. We’re spoon fed too much in today’s media. We’re capable of discovery because it is demanded by art – it is, and we are, more than the memorising and compressing of facts into some soul-devouring mock essay question that serves, actually, very little purpose to our society, to be honest with you.
Dan Krikler exudes charisma, Alex Stedman’s warmth, as an actor, is exemplary, and Peter Edwards’s Taff stands as perhaps the most endearing of all. However, the women of this piece, Rebecca Hamilton, Rebecca Kilick, and Zara Ramm, are exceptionally wholehearted; commanding a platform as pronounced as that of the boys’. The cast are one unity, a compact driving force. Yet, they’re either in isolation, or serving the microcosm which could deny a, certain, compulsive empathy. Perhaps it is through a dynamic distancing that provides an intensity, otherwise unattainable. So, I didn’t leave the theatre distraught, that night, like some very emotional valley girls (which was, actually, really funny), but I left upset; with a contentment in the knowledge that Pink Mist is a societal tragedy.
Pink Mist Tour
National Tour
31 Jan – 1 Apr 2017
Presented by Nick Williams Productions
31 Jan-1 Feb, Aberystwth Arts Centre
2-4 Feb, Sherman Theatre, Cardiff
7-9 Feb, New Wolsey Theatre, Ipswich
14-18 Feb, Oxford Playhouse
23-25 Feb, Traverse Theatre, Edinburgh
7-11 Mar, Devonshire Park Theatre, Eastbourne
14 Mar, Pontio, Bangor
17-18 Mar, Taliesin Arts Centre, Swansea
20-21 Mar, Theatre Royal Winchester
23-25 Mar, Birmingham Rep
28 Mar-1 Apr, West Yorkshire Playhouse
Review : La Cage Aux Folles, New Theatre By James Briggs
(5 / 5)
Cardiff’s New Theatre was packed to the rafters with a dazzling array of glitter and sequins last night for the first performance of La Cage aux Folles. The musical adaptation of French playwright Jean Poiret’s script is largely recognised as one of the greatest modern musicals. The stage production, directed by Martin Connor, is a throwback to the old glamour and glitz associated with the French Riviera but also has a very key message in the story.
One of the leading characters, Georges, is played by the US TV and Broadway actor Adrian Zmed who greets the audience with a heartfelt welcome to La Cage. There was something a little different about this cabaret, however, in the form of all the main performers in the cast being men dressed as women.
‘La Cage’ is a drag cabaret club in the heart of Saint Tropez, run by Georges and his very flamboyant husband Albin who is played by West End actor and former Eastenders star John Partridge. As the audience are waiting for Albin’s arrival on stage we are first greeted by the appearance of his on-stage alter ego Zaza. John Partridge creates an impressive character as he struts across the stage in a robe and a pair of high heels. He wins over the audience from the beginning and really gives the part his all.
The story unfolds when Georges and Albin’s son, Jean- Michele, (Georges’ from a previous relationship) arrives to tell his father that he is engaged to Anne, the daughter of a French politician who is well-known for his conservative views. Jean- Michele played by Dougie Carter drops a few bombshells on his dad. Including that of breaking the news to Albin that he can’t be there when the parents come over for dinner at their home.
Albin is horrified when he hears the news and his disappointment leads to a spine tingling performance from John Partridge of the musical’s most iconic number ‘I Am What I am’. Georges and Albin soon make up and it’s easy to like the two contrasting co-stars who have a brilliant on-stage chemistry with each other which could be compared to that of Ian McKellen and Derek Jacobi in the ITV series Vicious. The arrival of Dindon, the French politician, and his apparently conservative wife raised the bar once again on the entertainment as Albin comes up with a hilarious plan to meet the in-laws to be.
John Partridge’s performance as Albin and Zaza is absolutely superb and while the audience cheered and got to its feet for the entire cast, the largest applause and cheers were saved for him. During the performance John Partridge fell down some of the stairs on stage but being the true professional he is, kept in character and even made a joke about it. He carried on with the rest of the show and came on for the second act. Following the show John Partridge had to go to A&E and I really have to applaud him for being so professional and continuing with the show despite being in pain.
All of the cast were amazing and really very talented especially during the tap dancing scenes in which the male dancers very skillfully danced in high heels and gowns. A special mention must also go to Samson Ajewole who played Jacob and was exceptionally funny. He delivered a very strong performance and was one of the stars of the evening. As too was Marti Webb who played Jacqueline and created a very likeable character for the audience.
The stage sets used during the show were simply divine. All of the scenes in the show were very well thought out and the sets changed seamlessly. My personal favourite set design of the show was that of the stage at La Cage. The show saw a theatre stage constructed within a stage which is shown in the picture below and worked really well as it gave the audience the perspective of watching a whole different theatre on stage.
La Cage Aux Folles is a brilliant and moving, feel-good production that will be guaranteed to leave you smiling as you walk out the theatre doors and taking a whole new look on life. I urge everyone who get’s the chance to see the show to go as you will not regret it!
La Cage Aux Folles is currently on a UK tour so make sure you visit the New Theatre website in the link below and book your tickets before its too late.
http://www.newtheatrecardiff.co.uk/what’s-on/la-cage-aux-folles/
A First Trip to the Theatre, Room on the Broom, New Theatre Cardiff by Kate Richards
The Julia Donaldson books are firm favourites at bedtime for my 3 year old son Daniel, so I was excited to hear about the stage version of Room on the Broom a year or so ago. A couple of my ‘mum’ friends took their daughters to see the show when they were just 2 years old, but I didn’t think my little boy was quite ready at that stage. This year however (and after taking him to an amateur dramatic pantomime at Christmas which he loved) I decided it was time for his first foray into professional theatre.
All photographs © Helen Warner
I had very little idea of what to expect, and confess to being slightly confused when the performance seemed to start somewhat ‘organically’ with all the house lights still on and the action on stage bearing little resemblance to the start of the book. After a few minutes the house lights were dimmed slowly and it became slightly easier to concentrate on the performance and get my little one to focus on the stage instead of all the other interesting sights and sounds of the auditorium on your first ever visit to a theatre. I am assuming that this slightly inauspicious start is as a result of years of experience at gently easing little ones into the performance, so actually I was grateful that my little one hardly noticed the encroaching darkness, even if we couldn’t hear the dialogue to begin with.
The simple set was very atmospheric, and the portrayal of the witch reminded me of Miranda Hart’s TV character – bumbling and clumsy but funny and loveable at the same time – perfect for little ones. To be honest I can’t really get to the bottom of whether or not my little boy understood that actress in stripes was playing the cat, especially given that the other animals were puppets, but he didn’t question who she was. He was transfixed for the first 20 minutes or so, but I have to admit that sitting where we were in the Circle, there were lots of distractions from an inevitably noisier than average audience, and so it was sometimes difficult to follow the additional dialogue on top of the story he already knows. This didn’t help in holding his attention, but fortunately the interspersed songs and regular introduction of a new character helped him re-focus.
I have two observations about all the additional dialogue: from a production point of view, it is necessary for a number reasons – firstly the story itself is too short for a production without some additions, secondly I have no doubt it added to the appeal for slightly older children and kept the adults amused, making the theatre production appeal to a wider age range than the book in all probability. However, for very young children I think it was perhaps harder to follow, and potentially detracted from the story itself a little, since at times even I wanted them to get on with the next bit of the story, and my 3 year old definitely lost concentration in the middle.
The puppets were fantastic – the dog was particularly effective, with his shaggy coat emphasising the frenetic movement and constant tail wagging of a dog that is as ‘keen as can be’, but I am reliably informed by my son that ‘the frog was the best’, with his wide grin and long stretchy legs. For those parents with concerns about littles ones being scared – I would reassure you that despite the slightly fearsome roar before he came into view, the dragon turned out to be far less intimidating than my son imagined, and he soon climbed off my knee and back into his own chair, listening to the dragon’s catchy tune about wanting ‘witch with chips’ because he tired of eating ‘kids on sticks’…I still find myself singing this some days later. My son was a bit more worried by the ‘mud monster’, but since the actors were careful to ensure that the friendly puppet characters could be seen under the brown cover, I think this just proved that he’d totally bought into the story and characters on stage.
When the production ended I was slightly surprised that my son’s instant feedback was ‘that was good Mummy’, purely because he had lost concentration for a while during the performance, and I had worried that he was getting bored, but he’d refocussed on the stage when the dragon came on, and most certainly enjoyed his first theatre experience.
If a parent was to ask my advice about taking their child to see this production, I’d say this; don’t be in a hurry to take your child before they are able to concentrate for a reasonable length of time, the stage production would probably appeal to older children than the book does, so there is plenty of time. Book your seats carefully – the closer to the front, the fewer distractions there are likely to be from other children and the general hubbub of the audience, but then again if you have concerns that they may be scared – distance from the stage can be reassuring – judge it according to your own child. There is something in it for everyone; the little ad libs and references to current events were amusing for the grown-ups, and I overheard plenty of parents and older children around me make reference to having seen it before, so they clearly felt it worth coming back to year on year. I for one, will certainly be looking at availability for the Gruffalo later in the year after seeing this.
The Gruffalo (based on the book by the same author as Room on the Broom) is on at the New Theatre, Cardiff from Thursday 31 August – Sunday 3 September 2017. Tickets from £9.50.