Category Archives: Theatre

Cardiff Fringe Festival 2016, Service 3: Taking Stock by Kaitlin Wray

June 23, 2016 Kaitlin Wray Leave a comment

Image by www.jonathandunn.net

(4 / 5)

So my experience of the Cardiff Fringe Festival started off with a bang! Watching a collaboration of Infini and a Clock Tower Theatre Production they showcased, Episode Three: Taking Stock. It was a great way to relax and have just a bundle of laughs. This was cleverly written by George Infini who devised some outstanding witty comedy with a great set of characters.

This quick paced farcical short play showed four different characters with contrasting personalities yet when put together are highly amusing. There was the playful and devious character of Gavin played by Sam Harding, the hilarious love romance between Steven and Gene; two of the geekiest characters that were played by Grant Cawley and Isabelle Paige. Then there was Susan Monkton playing Sarah, who was perfect at playing the character everyone seemed to dislike. The plot to remove her as manager is entertaining and the comedic twist at the end was just perfect.

Overall it was quite a short performance yet this makes Saturday show of Episode Four: Fire Walk even more exciting to watch. I turned up to AJs Coffee House not knowing what to expect and left with my cheeks hurting and feeling rather entertained.

http://www.cardifffringetheatrefestival.co.uk/clock-tower-theatre-company
http://www.cardifffringetheatrefestival.co.uk/infini-productionsInfini

Dance, Theatre

Review Billy Elliot The Musical, WMC, by Barbara Michaels

June 22, 2016 Guy O'Donnell Leave a comment

(4 / 5)

The wow factor is very much to the fore in this production of Billy Elliot – one of the most heart-warming of musicals, it tugs at the heartstrings from the moment it opens. Brought up in the tough environment of a small mining town in the north-east of England during the 1984/85 miners’ strike, young Billy’s passion for dancing leads him to follow his dream. Abandoning his boxing lessons, he secretly joins a ballet class. The only boy, Billy is the subject of much speculation and teasing – some of it malicious. On the home front, it’s even more so. Billy’s elder brother pours scorn on Billy’s dancing and does his best to nip the young boy’s emerging talent in the bud. Spurred on by his ballet teacher, who knows talent when she sees it, Billy is determined to carry on dancing.

Of the four boys who alternate in the super-demanding role of Billy, Lewis Smallman was the one chosen to open in Cardiff. His was a Billy that we all know – a schoolboy going straight to the biscuit tin when he gets home. But this Billy is still grieving for the loss of his mum, and Smallman manages this part of the role with an expertise beyond his young years, but it is his skill as a dancer that rightly steals the show.

There is star quality here. This Billy is equally at home in the comically camp dance number in which Billy and his friend Michael (Elliot Stiff) dress up on girls’ clothes to the elegant precision of a version of Swan lake performed with an older Billy (Luke Cinque-White)in a dreamlike sequence in the second half – not in the original film but blending in perfectly. Martin Walsh, as Billy’s Dad, struggling both with the deprivations of the strike with no money coming and the problems of a recently bereaved father trying to bring up a young son on his own, brings a depth of understanding to the role, displaying both toughness and vulnerability. As Billy’s dancing teacher Mrs Wilkinson, who knows talent when she sees it, Annette McLaughlin has the role off pat – under no illusions as to her own teaching, and generous in spirit, cigarette puffing when the opportunity arises and with the big-hearted generosity that characterises the north.

Peter Darling’s choreography for the tour differs slightly from the West End production, particularly in the foot-tapping number ‘Born to Boogie’ but most of the sensational dance numbers are the same – and pretty amazing they are, too, doing full justice to Elton John’s lyrical and swinging score in musical numbers that make you want to jump from your seat and join in. A small caveat –which seems almost invidious in the face of such talent – is that several cast members, including Smallman, have not entirely overcome the difficulties of the north east of England dialect.

The darker side of the story is the miner’s strike, and the stand-off between Thatcher’s government and the National Union of Mineworkers, with scenes played out at the pit face of one of the mines threatened with closure, and in the working men’s club where the miners hold their meetings, and the soup kitchen which is established there for the hungry miners and their families during the strike. Light relief is there, too, in the shape of Grandma – not always quite with it (she hides her pasty in the bedclothes much to her grandson’s disgust!). Andrea Miller’s Grandma is a great cameo, displaying a love and empathy for, and with, Billy and his dreams with which many grandparents will identify.

Overall, though, Billy Elliot belongs to the young, and the ensemble of dancers and singers more than do it justice. Bravo!

Runs until 16^th July at the WMC
https://www.wmc.org.uk/Productions/2016-2017/DonaldGordonTheatre/BillyElliot/

Writer: Lee Hall
Music: Elton John
Choreographer: Peter Darling
Director: Stephen Daldry

Theatre

Review Minefield, The Royal Court, Lift Festival, By Hannah Goslin

June 20, 2016 Hannah Goslin Leave a comment

(5 / 5)

Up in the circle, viewing down onto the stage, a masterpiece is about to unfold.

What looks to be a simple set up – a big double screen, as if a cube had been cut in half, a drum kit, some guitars, a desk, costume rack and a camera. A simple yet welcoming stage to the mountain of feeling, expression, truth, fear, sadness and joy that is to fill this theatre.

Minefield, as part of the ‘On the Move’ series for Lift festival (an international theatre festival) takes veteran’s from the Falklands war, from both Britain and Argentina and brings their experiences of the war and compares one to the other. Bringing two enemies against each other on stage sounded like a dangerous and taboo thing to do – these veterans came as enemies and left as friends.

For ordinary men who are simply telling their story, their musical hobbies are used to bring an interesting element to the show. When you see a documentary on TV, there is some background music to parts and this was like a live documentary in front of our eyes- the talented veterans providing the ‘scene change’ music and showing who they are now is clever and shows more to them as people than just soldiers, marines and naval officers.

Multimedia was used throughout bringing new dimensions to the production. We had translations in both English and Spanish depending on who was speaking – despite one or two of the Argentinians being able to speak English, the majority of the performance was kept in mother tongues which gave a sense of nature and respect of cultures to the piece. A camera zoomed into performer’s faces, souvenirs and tangible memories for us to see more of; background video and animation was thrown up on the big screens – we were instantly brought into their lives and privy to their secrets.

The men were treated as performers-they provided their own soundscape using voice, breath and bringing objects together; they played different characters , interacted and trusted one another in their performance, put their truth on the line and respected one another for this. These men provided some of the best performance skills and techniques I have ever seen, and they were not trained or necessarily theatre fanatics as most performers in the industry are meant to be.

Perhaps the truthful and hard hitting stories, coming from the people themselves brings out the real performer and the real enthusiasm to portray not only their own but each other’s lives. It was evident that great friendship had been made and this made for the performance to run smoothly, cleverly and to make you think.

Ending with a full band featuring all the ‘cast’ singing and playing a rock song with lyrics relating to what soldiers do, the bad, nasty and the ugly. Rhetorically we are asked ‘Would you go to War? Would you?’ leaving us questioning ourselves to whether we would after hearing the reality that was not shown in the press.

I know what I would reply after being asked this. But what I ask you is, why wouldn’t you go to this production? As rhetorical as they ask their question, there is no answer needed and no doubt that you should.

Minefield
Royal Court Theatre
Lift Festival
10/06/16

Theatre

Review Romeo and Juliet Taking Flight Theatre Company by Helen Joy

June 20, 2016 Helen Joy Leave a comment

(4 / 5)

Anna and I are in Thompson’s Park. The last time we were together here we were in school, in single figures and holding hands, plump little girls telling each other fairy stories under the trees.

I can’t get the memories out of my head.

But we cannot reminisce for long as the Verona College classmates of ’63 sport their straw boaters and burgundy blazers and bound across the turf towards us. Rowing, fighting, slipping in the mud, the cast takes Shakespeare’s teenage drama and hurls it into our faces. Narrated , compered, signed, sung and spoken – every aspect is communicated with a robust concern for comprehension.

Tybalt played Toby Vaughan and Ania Davies as Nell your friendly Access Prefect taken by Jorge Lizalde Cano.

And the compere is masterly. Her hold over events is complete. Perambulatory it may be, drifting it is not. A neat conflation of original text and twentieth century conversation makes for an irrepressible production.

The acting is good. Romeo is ardent; the lads lusty and exuberant; the lasses witty and charming. Juliet is perfect. She is the most expressive and believable Juliet I have seen, maturing easily from silly schoolgirl to tragic heroine.

Lord and Lady Capulet are, in turn, pompous, funny, angry and very married – both to each other and to their roles in life. Lady Capulet, as pretty in pink as the girls in their ballgowns, is a clown – comic and tragic, Mercutio in a frock.

Nurse. Ah. The school nurse of school books and boy, she is splendid in her cape and boots. The buffoon, the go-between and the butt of jokes. Well-played, indeed. We wish her well in her romance with the Friar! We feel for her at the end.

Truly Shakespearean, this multi-talented and multi-tasking troupe of players understand that the more we laugh, the more we will cry; that life is a glorious, terrible muddle, however well-flowered is your pump.

Choose a sunny day and join in! And do buy a programme – and a college sweater!
Event:             Romeo and Juliet, a promenade performance
At:                   Thompson’s Park, Cardiff
Playwright:          Shakespeare, originally
Producer:             Beth House
Director:               Elise Davison
Theatre:                Taking Flight Theatre
Seen:              6.30pm, 17^th June, 2016
Reviewer:      Helen Joy for 3rd Act Critics
Running:        Romeo & Juliet will tour all over Wales, in beautiful outdoor spaces
Links:              http://www.takingflighttheatre.co.uk/romeo-juliet/

Theatre

Review Human Animals, The Royal Court, By Hannah Goslin

June 20, 2016 Hannah Goslin Leave a comment

(4 / 5)

Back to the Jerwood space – transformational, the scene is a complete change to what I have seen previously here.

Looking down on a modern, clean, almost Ikea like garden space, there are large windows, a barbecue spreading delicious smells and 6 actors going their ‘daily’ business.

Human Animals looks at the progression of an apocalyptic world and how easily the environment changes and how people can change when fearful and under threat. There is relation to the media and how it is portrayed, and in conversation, people’s discussion and opinion on this, with two sides of British reactions – either everything will be wonderful and will be fixed, or everything is entirely doomed.

These 6 actors give a wonderful performance, each with a character of substance and likelihood of change. We firstly are eased into the character’s, who they are, what they do, their personalities, our relation to these aspects. Once hysteria hits, it’s hard to not continue relating to them, questioning if this would be how you would react if it seemed that the world was slowly ending.

The layout of the production and the slow progression from normality to chaos and back to some resemblance to normality reminded me of watching animals in a zoo – things happen and instincts take over but there’s nothing you can do to help and no escape – all you can do is keep watching it unfold. The only difference here being that there is no screen in front of us, the screen is behind them. Occasionally liquid in various uncomfortable colours is sprayed down it and a person in a hazmat suit comes along to perform fumigation on the otherside. We are put in this comfortable bubble, but with the disintegration of the characters’ lives, minds, health and relationships, are we really that safe?

There is no attempt to hide any of these blatant facts that this production puts into your mind – there is gore and there is shock factors that leaves you thinking, considering life as it is now and the likelihood of this being a prediction of the future. And this is good – there’s no point hiding it and you are forced to sit up, listen and relate.

Human Animals is not only astonishing, but honest. No American zombie killing heroes to the rescue here; natural environments under threat, real possible events that could unfold in reality, truthful reactions and consequences. The performance aims to make you think, see and listen.

Theatre

Welsh Playwrights, An interview with Tony Wright

June 19, 2016 Guy O'Donnell Leave a comment

Get the Chance values the role playwrights living and working in Wales bring to the cultural life of our nation. Here is our first interview in this series with Welsh playwright Tony Wright.

Hi Tony great to meet you, can you give our readers some background information on yourself please?

Sure, so my name is Tony Wright my dad was Jamaican and my mum was Welsh and is from the Valleys. I grew in in Tremorfa, which is near to Splott in Cardiff. I left school without any formal qualifications.

So what got you interested in writing then Tony?

When I was 14 my sister brought a book home the Contender, it was a boxing book and this was the first book I picked up myself and was interested in. This developed an interest in literature for me so I then started to go to the library myself to read. Inspired by the book I tried boxing but it wasn’t really for me, it was too painful!

When I was 16 my friends formed a band called Level Vibes and I was the guitarist. I didn’t stay with the band for very long and I quickly realised that I couldn’t really play guitar but I could write lyrics, so I started to write lyrics for the band. I wrote a couple of things and my claim to fame is I wrote a song for a Benji Webb who now fronts the band called Skindred. Benji cut his first 12-inch single for a song I wrote called ‘Plant a Seed.’

http://www.barddgriot-productions.com/#!eyes–dont–lie-bottom–page-plant-a-see/ctc7

That’s a great claim to fame! So what did you do then?

I realised then that I could write! I set up my own band Digital and we did a few gigs at Grassroots in Cardiff. Which is a drop in youth centre with a music studio, an excellent place! Two of my songs stayed in the set for Level Vibes and their profile really developed they were talked about as the Welsh UB40. Level Vibes members also included rap poet Leon Charles

http://www.walesonline.co.uk/news/wales-news/1970s-butetown-in-photos-2075339

http://www.literaturewales.org/writers-of-wales/i/129552/desc/charles-leon/

Digital didn’t really take off and when I was about 30 I was offered the chance to access some adult education courses and went to the Friary and Coleg Glen Hafren in Cardiff I learnt during the adult education courses that I was dyslexic. I think dyslexia wasn’t as widely known then. My tutors informed me I should have had an A grades but because of my dyslexia I got a C’s, which made me really angry and frustrated. I continued to want to learn and managed to get to university and studied a combined studies course on Media, History and Cultural studies. Much of my studies were based on subcultures and Rude Boy culture. During the course I learnt about scriptwriting. Again my tutor informed me that they thought I had dyslexia. I had a test and was diagnosed with severe dyslexia. I realised I if I had have been diagnosed earlier I would have received support but I didn’t and still don’t let my dyslexia hold me back.

Whilst on the course I wrote my first full-length script called ‘Climbing Out’ about a mixed race guy from Splott who was given the chance to move down to Cardiff Bay. I thought it was good and I just had to do something with it. So I went to Splott with no money just my script and spoke to people on the street and asked them if they wanted to be in my film! John Allen who worked at Chapter supported me; he very kindly gave us a space to work in. We booked the YMCA in Splott for 4 nights and it was one of the best things I have ever done. It was hard and a struggle we funded the performances ourselves with some in-kind support. At that time there wasn’t many mixed race black actors seen acting in Wales. The audience loved it, they where mainly the community and friends. For lots of the audience it was the first time they had seen a play with people in it that they could identify with and they said, “We want to see more!”

To do that yourself takes a lot of drive and ambition Tony, did you approach the Arts Council of Wales or similar organisations for funding or support?

Yes I went to Arts Council Wales for funding but I was unsuccessful in my application at the time, as I didn’t have 2 years trading or bank accounts. This was a barrier for me but they were flexible and asked to see if I had some evidence of trading. From then on we started to develop a relationship and discuss how they could support me. Since then I have had lots of support from ACW officers Jennifer Stoves, Melanie Hawthorn and Nick Davies. They know my work and me.

So with the success of your first play I wonder if you then wanted to develop your play writing skills?

Well they say to write about what you know so… my next project developed out of my knowledge of Reggae sound systems and Rude Boy culture, music was and is the thing that brings lots of my friends together. ‘Rude’ is became a Ska musical about a mixed race guy in Cardiff called Roddy, the play focus’ on him looking back at his teenage rude boy-self and the characters, culture and music that informed his youth.

The cast of Rude

The project developed when I met with a guy called Dave Norton and James Williams. I met Dave in a bar and we got talking and I found out that Dave was an actor and producer with his own theatre company called ‘Give it a Name.’ We started working on it together in 2009 it was produced twice in 2009 and 2012, the second time as part of Black History Month. The play featured Shekira Johnson, Brent Morgan, John Norton, Dean Rehman, Joe Shire, and Olly Wood. James Williams who is a Musical Director was also the plays director. We performed it in the Rockin’ Chair Bar and Grill, in Riverside, Cardiff which was a Caribbean restaurant.

Performing it there meant we took theatre into a place it’s not normally shown. It was all staged in the restaurant. There were people sitting eating and the play was happening around them. The actors improvised with the audience it was excellent. There was one part of the show where the cast pretend to fight and one of the local bouncers jumped in to stop the fight thinking it was real! We had to say, “No Dave mate it’s a play!” James also got the excellent band together. They were Jenny Bradley, Fran Dimech, Chay Lockyer, Eric Martin Jr, and Gregg Price.

I love the fact that the production was performed in a restaurant and not a traditional theatre space and really involved the audience. So to bring us up to date what have you been up to recently?

Well I am 53 I have been thinking to myself no more Art stuff. All my mates are retiring and I am thinking about getting a job! I started doing some voluntary work at Butetown History and Arts Centre and enjoyed meeting the different people that use the building. Whilst volunteering there I supported a project with MIND and a campaign called ‘Time to Change’ I was approached to work one project called Mental Notes – Beyond Words. I developed a piece of drama called ‘The Prisons Within’ I personally know a lot of people who have gone to prison with mental health problems and the importance of getting help. The play is set in a prison with two men in the same cell. In turns out one has OCD and one has depression. Del Lusion is one character and he is a symptom of mental health problems. He winds up the other character in the play. During the play the two characters get to know each other and talk about how they ended up in prison.

The Prison Withins cast members Paddy Faulkner and Jason Camilleri

The play ends on a positive note and shows that you need to talk if you have mental health issues. The play was performed by actors Paddy Faulkner, Robert Marrable and Jason Camilleri and directed by Jemma Llewellyn

With the play I don’t offer any solutions to mental health problems I just offer a space for people to be aware of these issues in society, which I think, is one of the roles of writers and artists.

Sounds great I believe the production is going to be staged again soon? When will we be able to see the production Tony?

The play will be performed at The Wales Millennium Centre on Thursday the 30^th June at 7.30 pm. The cast for this performance will include Jonny Hollywood/Robert Marrable and Paddy Faulkner. It will be directed by Jason Camilleri.

The play will also be performed at Parc Prison, Bridgend as part of their staff training next month.

If you would like a free ticket go to my website and send me a message. http://www.barddgriot-productions.com/#!lets_talk/con8

One of the reasons I formed my company Barddgriot- Productios was to maintain working with a talented multi-cultural team of people living in and working in Wales. As I have mentioned I have had the pleasure of working with a wealth of talented people in my career. I have also been supported by people like Director Greg Cullen who directed a short play I wrote at the Royal Welsh College of Music and Drama. I hope to continue to work with more of the brilliant artists and writers in Wales in the future!

http://www.barddgriot-productions.com

Thanks for your time Tony

Theatre

Review Hairpeace Battersea Arts Centre By Hannah Goslin

June 19, 2016 Hannah Goslin Leave a comment

(3 / 5)

Beginning this one woman show, Victoria Melody begins with an introduction to who she is, her previous show ‘Major Tom’ and where this brought her to the current production. She is a little bit odd, very talkative and full of expression. But it does put me on the edge of what was I really about to see.

This big haired, ditsy blonde seems amateur, strange and unlike anything I have ever seen. But soon, I was going to be surprised and about to eat my words.

Hairpeace begins from the performer’s quest to research a new show by entering beauty pageants. The cosmetic, pristine and long haired beauties we see on stage are all from this niche genre do a lot to make them this certain way. One part of this is the use of hair extensions, which are from real human hair. But where do they come from and does anyone even care? Melody investigates this, going from science, to Russia and to India where these extensions of beauty originate, and the deep dark and emotional secrets unfold.

As previous stated, I believed I was going to witness something amateur and something I was going to walk away from really disliking. I didn’t expect to be engaged, to laugh and to feel sorrow. Melody is so clever – her ‘amateur’ approach, her play on her airhead beauty pageant status is interesting and leaves us laughing. She is not only her intelligent and interesting self, but she plays on her stereotypes and easily wins around those (like myself) whose initial judgement was so, so wrong.

She uses her props, her staging well and plays with it all to bring out a laugh in us – one moment when a solid 3 minutes of her awful disco dancing with a frozen smile and her eyes lighting up in enjoyment is solely there to entertain – she is admirable for not caring what people think and doing things for us to love.

These hilarious and warming moments are comic relief however – the truth behind where hair comes from, her experiences and stories of people she goes to meet in Russia and India are heartbreaking but you are given real people through her filming, real emotion and she’s not afraid to show the real her whether it be taking the mick out of herself or telling the true revelations from her research.

Hairpeace turns into more performance art that a production; the content is real life, it is truth and honesty in all realms. However, instead of forcing us into a documentary, or storytelling, she highlights issues bluntly, bringing in elements of comedy to give that silver cloud. A definite informative and funny must see.

Never was the phrase ‘Never judge a book by it’s cover’ ever as apt as it is for this production; from my initial reactions to the reality of hair extensions.

Writer/ Performer: Victoria Melody
Director: Paul Hodson; Petra Massey
Dramaturg: Rachel Chavkin
Producer: Sean Phillips
Design: Ryan Laight; Joe Murray, Mitch Mitchinson, Evgeniy Kurbatov (Cameras); Richard Davenport, Hugo Glendinning (Photography)
Until 25 June 2016
https://www.bac.org.uk/content/41810/whats_on/whats_on/shows/hair_peace

Theatre, Uncategorized

Review Miramar, Triongl By Gemma Treharne-Foose

June 17, 2016 Gemma Treharne Foose Leave a comment

(3 / 5)

An Englishman’s home is his castle, so the saying goes. But what happens when your husband (quite literally) finds himself in the shit and croaks it thanks to his fondness for the horses, leaving you destitute and homeless?

Triongl’s devised production ‘Miramar’, explores what are quite madcap and surreal circumstances in a small, intimate domestic comedy. Valmai Jones perfectly plays the part of interfering and curmudgeonly Enid. Vulnerable and stubborn, she finds herself put up by her friend Myfanwy following her misfortune and is horrified to find herself at the age of 74 sleeping in the Arsenal-themed room of her friend’s Grandson. She’s forced to watch as part-time holiday home landlords strip her house of her possessions as they create their little Welsh minimalist haven. Welsh speakers will recognise the subtle (and not so subtle) references and nods to ongoing anxieties and concerns about second homes in Welsh speaking communities here. Triongl play on these scenarios, contrasting the home-spun familiarities and eccentricities of Welsh speaking communities with the somewhat square and distant characters of Miriam and Martin, the couple from Swindon who purchase Enid’s old house. There are language barriers, eye-rolls and asides to the audience as these are played out. Jones’ comic timing and tense/jerky body language are absolutely spot on.

Hilarity ensues when Miriam and Martin’s daughters show up unexpectedly to the house only to find that Enid (disguising herself as neighbour Myfanwy) has moved in. We are taken down a number of paths and alternative ‘this is what could have happened’ scenes as Enid tries to cover up her manipulation and excuses as she plays one sister off against another. Becoming embroiled in the sisters’ bickering and back-story, the tangled comedy culminates in a sweet ending which will tickle you pink.

Audience members who don’t speak Welsh may struggle to get the full meaning and richness of Enid’s monologues in Welsh but the production helpfully gives a ‘cheat sheet’ to audience members delivered at the start (in character) by Enid herself. So you can find out just what Enid means when she says ‘cachu’ (shit), ‘Ty haf’ (holiday home) and ‘di gartref’ (homeless). This production will capture your attention to the very end and Welsh speakers will (ironically) feel right at home with the observations and cross overs between English and Welsh, village and city, old and new and all the complexities that go with it.

For all the ‘funnies’ in the play, there’s a sober message, which was highlighted by a post-play talk by Shelter Cymru. 97% of its cases are related to cases like Enid’s, not just homelessness out on the streets, financial insecurity is on the rise and we are typically only two pay packets away from homelessness ourselves. Miramar reminds us that we all need a place to call our own and to feel secure; whether it’s a place with china dogs and pink throws or stripped floorboards and minimalism.

Type of show: Theatre
Title: Miramar
Venue: Chapter Arts Centre
Dates: 16 & 17 June 2016
Author(s): Rebecca Smith-Williams
Director: James Williams
Lighting Design: Dan Young
Technical: Richard Balshaw (Production Stage Manager) and Jorge Lizalde (Graphic Design)
Cast includes: Valmai Jones (Enid), Rebecca Knowles (Alice) and Rebecca Smith-Williams (Georgina).
Co-producer: Rebecca Knowles
Running time: 65 mins

Dance, Theatre

Review Billy Elliot WMC by Gemma Treharne-Foose

June 16, 2016 Gemma Treharne Foose Leave a comment

(4 / 5)

Fans of the original Billy Elliott movie, also directed by Stephen Daldry can expect a little bit of extra magic from the Wales Millennium Centre’s hosting of the hugely successful Billy Elliott production.

Charismatically led by the mesmerising young actor Lewis Smallman, the show takes us on a pleasing detour from the original film script. We not only see brand new additions to the story but lengthier explorations in to the characters of Billy’s Mam, Nana and Michael (who you may remember has a penchant for his sister’s clothes and has a soft spot for his friend Billy). There are plenty of cheeky exchanges and gritty working class banter courtesy of the superb ensemble cast and the kind of unguarded and politically incorrect observations and comments reminiscent of drunk uncles or grandfathers at Christmas. This was the eighties, after all!

The show respectfully and tastefully contextualises a time of great fear and a sense of national panic about the fate of mining communities, punctuated by the innocence and childish sense of fun of Billy and his fiend Michael. The two battle with conforming to the unwelcome stereotypes and limitations placed upon them in the masculine mining communities during the miner’s strike. Throughout the whole production, the community is at war with the police on the picket lines and the sense of hatred towards Margaret Thatcher is palpable. There are sprinklings of ‘Maggie Maggie Maggie Maggie – out, out, out!’ chants, naughty jokes, insults, political Thatcher and Heseltine puppets and an incredibly designed giant Margaret Thatcher (milk snatcher) model emerging from the stage at one point, which will remind you of the ‘Spitting Image’ years. There is a simply spectacular scene where Billy and his ballet classmates are in the middle of a lesson while dancing coppers clash with picketing miners…the story telling in Darling’s choreography, use of pace and the physicality of the actors was a powerful highlight for me.

I loved the additional scene in the musical where Andrea Miller’s character Nanna paints a picture of what life was like for women when ‘men went out to mine’. For all the much-romanticised community spirit and camaraderie of the mining men…life was pretty shit for the women left behind.

Nanna’s rebelliousness and Joie de vivre as she literally gives the finger to gender stereotypes and misogyny is infectious and this nod to gender politics and male chauvinism was later echoed when Billy caught Michael trying on dresses. Michael innocently asks ‘What’s wrong with being dressed as a girl?’, as if dressing as a girl is worse than actually being one. There is a fantastically camp and cute scene where Michael and Billy deliver an incredible call to action during their energetic and playful dance piece: be who you want to be – dress and all!

While Daldry’s movie gave us pacy cinematic editing and a razor sharp script, it’s fair to say the script for the on-stage production doesn’t quite match the quality of the original film script. Some of the lyrics and exchanges are a little simple and at times clichéd. On the first night of its long run, some of the Geordie accents were a bit ropey and there were some sound issues with a creaking set BUT we are more than compensated with incredible choreography thanks to Peter Darling. This is a real shot of adrenaline in the arm and a classic feel-good show. Go see this show, take your Mam…wear a tutu, even – you won’t regret it.

Title: Billy Elliott
Venue: Wales Millennium Centre
Dates (15th June-16 July), PN 15th June.
Book and Lyrics by Lee Hall
Director: Stephen Daldry
Design: Ian Macneil
Technical: Costume by Nicky Gillibrand; Lighting by Rick Fisher, Sound by Paul Arditti.
Cast includes: Anette McLaughlin, Martin Walsh, Andrea Miller and Scott Garnham.
Producer(s) Tim Bevan, Eric Fellner, Jon Finn and Sally Greene.
Running time: 3hrs

Music, Theatre

Review Piaf! The Show Festival of Voice WMC by James Briggs

June 12, 2016 James Briggs Leave a comment

(4 / 5)

Cardiff welcomed one of France’s most famous singers in the form of ‘Piaf! The Show’ as part of the Festival of Voice event in association with ‘Directo Productions’. ‘Piaf! The Show’ celebrates the centenary of Edith Piaf’s birth and is a wonderful production that sees French singer Anne Carrere filling the impeccably large boots of Edith Piaf. Edith Piaf holds very special memories for me as my family and I would regularly go on holiday to Jersey. When I was four I asked the hotel pianist if she would play Edith Piaf’s ‘Non, Je Ne Regrette Rien’. The pianist as well as my family were astounded at my request, but as we would return year after year to the same hotel every time I walked into the hotel the pianist would always play the song for me and even gave me some of my first ‘piano lessons’.

With a packed line up of almost thirty songs we are taken on a musical journey of Edith Piaf’s life starting firstly in Act 1 with the beginnings of Edith Piaf singing in café’s for customers and serenading people alongside the River Seine. However, Act 2 is totally different with the show changing into a concert style performance and Anne Carrere’s performance as Piaf is totally mesmerising. There were countless famous numbers included allowing the audience to sing along with the music. The settings used on the stage were minimal yet extremely effective some of which being a streetlamp in Montmartre, seedy clubs of Pigalle and even the world famous Carnegie Hall in New York.

While performing on stage Anne Carrere was backed by a live band simply made up of a piano, doublebass, drums and the most amazing accordionist Guy Giuliano who was simply outstanding. The songs performed were a great mix from the well known such as Jezebel and Autumn Leaves and those not so well known to me such as ‘Bravo Pour Le Clown’, ‘Milord’ and ‘La Foule’.

The audience were left feeling as though we were watching the show in France as it was all in French. I really enjoyed the use of French as it brought more meaning to the music and made the portrayal of Edith Piaf by Anne Carrere even more special.

For those who have listened to Edith Piaf’s music you will know that she had a very specific sound to her voice and this is extremely difficult to impersonate, however, Anne Carrere manages to exemplify not only the spirit of the singer but also her unique sound. The legendary vibrato is captured with precision and even when dancing with men she had picked from the audience she stayed in character and didn’t let the accent go for one second.

The setting was also very effective in that during the singing a large projector at the back of the stage showed photographs of Edith Piaf through her many stages of life. Simple sets of a streetlamp alongside a park bench, bar and cafe tables provide the audience with a visual aid when listening to the music and following the story. This created the most fantastic atmosphere for the audience but the music with Anne Carrere alone is enough to entertain any audience and the enjoyment on stage was infectious.

For me this show was a dream come true and is the closest I will ever get to watching Edith Piaf singing her music live. It was therefore a terrible shame that the audience was so small in number as the performance deserved a packed audience. However, this did not deter the audience giving Anne Carrere and her band a standing ovation which was very well deserved.

I would recommend this show to everyone whether you are a fan of Edith Piaf or not as it is simply a wonderful celebration of all things French and the fabulous Anne Carrere is outstanding and I am sure when she performs at Carnegie Hall in New York I am sure she will be loved there also. If you ever get the chance do not think twice about buying a ticket as it is a must see show and your guaranteed a wonderful night out. Merci Anne Carrere vous étiez un artiste incroyable et vraiment fait Edith Piaf fier!

https://www.youtube.com/watch?v=GuxAeSihdgs

Merci d’avoir lu mon commentaire sur le fantastique Piaf ! Le spectacle.

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