Who is Yuri?……
This main theme ran throughout the whole show. Conversely even though the theme shows uncertainty and tension, August012 brought this play to life. This highly entertaining and comedic show was perfect for what I needed, to sit back and just have a good laugh. The story depicts a couple who are unable to get pregnant. Then, Yuri appears into their lives, but who is Yuri?……
The chemistry between the three actors is perfect and while each of them had strong stage presence, they don’t take over from each other. Carys Eleri, playing Adele, proved her diverse talent as she showed us a woman who can go from being ditsy, to alluring and then to completely crazy. Carys’ character was strong throughout and she was a pleasure to watch. Ceri Murphy, playing Patrick, is generally the only sane one throughout the whole performance, trying to understand what is going on. His struggles of trying to get to grips with who Yuri is, and trying to calm down Adele is very amusing to watch. His audience interaction was hilarious and he lured us in completely. Saying all that, the dynamics with both Adele’s and Patrick’s characters towards Yuri was the most entertaining to watch. Guto Wynne Davies, playing Yuri, didn’t say anything for 3/4 of the show but was fascinated on his balloon, and at the word ‘raffle’. Even though his character lacked in words, he wasn’t the less amusing to watch.
The comedic timing in this show was perfect throughout, it was evident that they spent hour upon hour making sure everything was in sync. The aesthetics of the performance were equally incredible, the set, the sound and the lighting were all well thought out and planned and they even added little perks by using silver confetti to represent water. However, even though this is a naturally funny show, there is still that one lingering question that will stay with you. Who is Yuri?….
This is a show that is enjoyable, pleasing to the eye and leave’s you walking out of the auditorium feeling glad to have experienced it.
Category Archives: Theatre
Review Iliad NTW by Brian Roper
A guest review by 3rd Act Critic Brian Roper
ILIAD.
National Theatre Wales
Ffwrnes Theatre, Llanelli, 26 September 2015A bright autumn day in Llanelli grew even brighter as National Theatre Wales’ marathon production of the Iliad opened to an enthusiastic audience.
But there was something else going on that day. At 10.00 am the town was already buzzing with match-day fever as the first pints were evident and on Stryd Stepney, Max and Cerys belted out the old tunes. How would art fare in competition with rugby in this hotbed of the game? Rather well as it turned out.
In four parts this ancient tale was always likely to be epic, but it was never boring.
Directors Pearson and Brookes have previous, (Coriolanus, The Persians), and this multi-media staging of Logue’s War Music, itself derived from Homer’s account of the end of the Trojan War, is up there.
As you would expect the sound is compelling, always haunting it was at times almost wistful but the potential for bellicosity and pent-up violence was always present.
The projections range from largely static landscapes (in Wales?) which, whilst charming, seemed to be a long way from the Eastern Mediterranean and video headshots of local teenagers playing Gods.
A team of six narrators carried the three hundred pages of poetry with aplomb, all were convincing. Daniel Hawksford made a strong early showing and Richard Lynch grew into his roles but Melanie Walters stood out with her diction and accents and her acting through gesture and her facial projection.
The use of teleprompters restricted dramatic potential to the use of the upper body and engendered a sense of “talking heads” which diverted the attention of the audience away from the action and on to the screen, it seemed a bit like talking with friends in a pub with the TV on and finding that the usual dynamic cannot be established. Such an approach demands good tone and timbre in the voice and clear diction and enunciation which was provided on a consistent basis but the strongest effects came when the cast performed in choirs, as in the death of the bull sequence which was deeply moving.
The language conveyed the message. The elision of the ancient (7th century B.C.) and the modern and of the catastrophic and continuing threat of war, conflict and displacement, was conveyed admirably and the references to “helicopters”, ”privatise”, ”Australia” and “curly-girlie hair” could have disorientated, but did not.
NTW is good at sets and settings.The opened floor of the Ffwrnes theatre was a blank page and the weight of the production therefore fell on the set.
Think Kwikfit tyre bay meets a clearance sale at the garden centre.
I never appreciated how many uses plastic stacking chairs could be put to.
At its best it was outstanding, occasionally it was prosaic and sometimes it was plain irritating.
Building the set as you go along invites the audience to care and to share in the process and whilst some of the effects, like the raising of giant blooms on tripods were certainly dramatic, in the manner of raising the US flag on Iwo Jima, they also seemed to be rather pointless and distracting.
Audience engagement also involved being ushered around the space to make way for yet another “construction”, the audience becoming the set and, more welcomingly for the chosen few, being invited to lie down and play dead.
The marathon was sold out and as part four started the England v Wales rugby game kicked off. But the “literati”, as I heard us being described by a passing rugby fan (who must himself have been somewhat literate) were loyal to the cause. I recognised many who had been there at 10.30 that morning.
I asked our National Poet, Gillian Clark, for her opinion, she said” Tonight was so inspiring…it showed such respect for language…this was the NTW at its best.”
It was a marathon and it was epic. The concluding sound-scene with hunting horn and battle drums stayed with me as I scurried away from the theatre not wishing to overhear the rugby score, and made my way home on the M4, without the radio on, for the same reason. The sound of battle and desolation and of loss is with me now.
This was not just drama. It was arresting and compelling, a ”must-experience” experience.
The standing ovation was testimony to the power of this production and to the tenacity of the audience and I was delighted to be with them.
Brian Roper
27/09/2015
Review Blud Other Mother, The Other Room by Shannon Newman
Photograph Credit Pallasca Photography
Usually you wouldn’t associate football hooliganism with anything other than chavs and cheap thrills, but Blud goes beyond these initial prejudices, questioning loyalty and our need to belong – whether that’s to someone or something.
These are the key themes that are veiled under the supposed cult of football. What really matters to these characters is loyalty and finding a place in a society that renders you utterly powerless – which is precisely what the characters struggle with. Thus, Blud conveys football as a rite of passage into social mobility and ready-made identities, and eloquently so.
It takes some skills, for a writer and actors, to present a character that’s so immoral and yet so loveable. Yet thats what writer Kelly Jones and actors Francesca Marie Claire and Olivia Elsden do.
The stage directions – simple in action, though deeper in meaning, and therefore it goes without saying that you’d need to concentrate to fully appreciate the full extent of what they’re conveying.
It’s refreshing to see a theatre production that touches on such contemporary issues in a gritty, but wholly realistic manner.
This is theatre without the sugar coating, and that’s why we need it.
Review Ti.Me Cwmni Pluen by Kaitlin Wray
Cwmni Pluen company presents Ti.Me, a performance that symbolised the worlds greatest universal language, love. It was a representation of what it’s like to fall in love, to be in love and then when love deteriorates. Through the construction of physicalisation, live music and spoken language the company infused deep symbolisation with comedy.
Directors Elgan Rhys and Gethin Evans devised this piece with performers Heledd Gwynn and Alan Humphreys. Together they had 2 weeks to create a performance, and from watching it, it felt like it was months of hard work. The piece was original yet relatable to every person who’s ever been in a relationship.
The company in rehearsals
One of the main aspects that struck me was the use of the English and Welsh language during the production. Heledd’s character was fluent in Welsh where as Alan’s wasn’t. When Heledd was frustrated she would speak in Welsh, therefore Alan’s character didn’t have a clue what she was saying. This was an interesting way to portray the lack of communication between them. Furthermore the physical language between them shone out. When they were deeply in love they would be breathing simultaneously together, conversely, when they were having problems they would be out of sync with each other. This simple method was powerful to watch as they would be pretending to each other that everything was fine, when everyone in the audience could see that it wasn’t.
Performers Heledd Gwynn and Alan Humphreys
What made this piece stand out to me even more was the use of live music, composed by Chris Young. He used synthesisers to create music out of everyday sounds. The physical aspects of the piece wouldn’t have evoked as much emotion without the music. They go completely in hand.
Composer Chris Young
This piece was emotional, hilarious and mesmerising to watch. The performers interacted together so perfectly that you would think they were actually a couple. It was a piece full of truthfulness and it would be a shame if you missed out on it.
The production can be seen at Galeri Caernarfon on the 18th of this month
http://www.galericaernarfon.com/digwyddiadau/manylion-digwyddiad.php?eventKey=2054
Review Ti.Me Cwmni Pluen by Shannon Newman
Watching this production was like flicking through TV channels that only feature Disney films and scenes from mental asylums. Thus it’s hard not to imagine the writer as a philosopher with a bipolar disorder. But I loved it.
Ti.Me by Cwmni Pluen explores the melancholic realism about what we’re conditioned to believe about love. It questions the very nature of fate, and to what extent that it even exists, whilst revealing the hopeless naivety of the human condition.
Is it some grand illusion that we blindly tie ourselves to?
Although the play was successful in conveying so much emotion about this universal, yet very personal issue in such a short space of time, the anachronic order of the plot was sometimes difficult to follow, so it was hard to not think that the company were trying to outdo themselves with creativity
The lighting was generally easier to interpret than the choreography, but that’s not to criticise the actors, Heledd Gwynn and Alan Humphreys . In fact, they were the main reason for the productions success. It’s rare to find a play where the performers appear to completely lose themselves in their characters, as though even they were convinced of the world they create.
To put it simply: The play follows a couple who experience the joys and pains of love. Brought up and down by so-called ‘fate’, like a brilliantly messed up Cinderella story.
Review Blud The Other Room by Kaitlin Wray
The Other Room Theatre brings to the stage Cardiff’s three woman theatre company ‘otherMother’ with their original production ‘Blud’. This play, written by Kelly Jones, has themes centred around the rivalry between two football teams and the desperation to stand up for themselves.
Set in a football locker room, The Other Room Theatre provides the intimacy that is needed between the story and the audience. The play consists of two visible characters, Rita- the captain of Cotley Town’s female football firm and her sister, Lou- Olivia Elsden. These characters are completely incompatible in personalities but soon realise the need for each other.
This is a dark play with comical one liners. It showcases the brutality and the need to stand up for what you believe in. Francesca Marie Claire, embodying Rita plays a woman who puts football above everything else to try and show her rival team that she is a fighter. Francesca never falters at delivering a true, passionate and gritty working class girl. Lou, played by Olivia Elsden showed the audience a childlike 15 year old trying to reach out to her older sister. Olivia acted out an innocent girl that provides the audience with a lot of entertainment. However as the play went on her character grows and she is converted from being a child to someone who was providing advice and support. Both actors grasped their sense of character and made the thematics in the play drive out even more.
Photograph Credit Pallasca Photography
The play is well structured and well written. It started off with a monologue from Rita that set the scene and unveiled her character. Throughout the play we are given insights of their past and how they grew up without this being portrayed as a biography. Chris Young, provided us with a soundscape, that gives us a sense of the chaotic world outside of the locker room. Furthermore without giving anything away, I believe the ending was well thought out and had a great impact on the whole story.
Photograph Credit Pallasca Photography
The trio that makes ‘otherMother’ consists of the writer, Kelly Jones, the director, Anna Poole and the producer, Olivia Harris. The company provide us with entertainment and a subject that’s intended to raise discussion and debate. ‘Blud’ is a production that everyone should go and see due to the raw nature and the elements combined in the play.
other Mother company members
From left, writer, Kelly Jones, the director, Anna Poole and the producer, Olivia Harris.
Review Annie WMC by James Briggs
Annie the Musical is set in a rough girl’s orphanage in New York in 1933 and follows the rags-to-riches journey of 11-year-old orphan Annie, one which takes her to the top of American society where she and her optimism influences many orphans, adults and even the President Franklin D Roosevelt.
The main star of the musical tour is Strictly Come Dancing Judge Craig Revel Horwood. His performance couldn’t be any further from his judging persona on Strictly as he donned a frock for the part of the bully Miss Hannigan, the orphanage ‘mother’. Well we can safely say he has earned the right to be as harsh as he is on Strictly Come Dancing because he can act, dance and most definitely sing! When he made his first appearance in the show with his high heels and swinging hips you could see from the audience’s reaction we were in for a good night.
Craig Revel Horwood is supported by a very strong cast who have been moulded to perfection. Alex Bourne as billionaire Daddy Warbucks was perfect casting and he was suitably strict when he needed to be but yet soft-centred as the plot unfolded, with a passion it seemed for dancing.
Holly Dale Spencer was superb as Warbuck’s ever helpful and faithful secretary, who helps Annie to get out from the orphanage to live in his luxurious mansion.
It is also very important to mention the brother of Miss Hannigan, Rooster and his villainous cohort Lily. Rooster is played with convincing style and comic cunning by Jonny Fines and Lily by Djalenga Scott brings their relationship to life. The two come up with a dastardly plan in which they pose as Annie’s real parents in an attempt to bag a $50,000 reward.
The true and rightful star of the show was Annie herself. Played by the extremely talented Madeleine Haynes. Her voice was powerful and had a great vocal range. Annie the musical is littered with difficult ballads and she pulled them off with ease.
Due to the amount of shows that take place Madeleine is one of three Annie’s in one of the three teams of orphans in the show. I think it would also be right to mention all of Team Roxy because they did a fantastic job Rosanna Beacock (Molly), Scarlett Flannery (Pepper), Ashley Gold (Kate), Connie Burgess (July), Amelia Love Coleman (Duffy) and last but not least Lissy Mant (Tessie).
The dance routines throughout by the entire cast were second to none, although what else would you expect with Craig Revel Horwood choreographing.
It would be wrong to finish this review without of course mentioning the character in the show that impressed the audience with her skills, Amber, the highly talented dog who plays Sandy.
In the words of Craig Revel Horwood this show was “Fab-u-LOUS Darling!” and deserved the standing ovation from the Millennium audience. Make sure you get yourself over to see Annie on tour because if you do you can “Bet your bottom dollar that tomorrow” you’ll have fun
Review Dirty Rotten Scoundrels, WMC by Barbara Michaels
Dirty Rotten Scoundrels at Wales Millennium Centre, Cardiff
Book by Jeffrey Lane
Music and lyrics: David Yazbek
Director and Choreographer: Jerry Mitchell
Reviewer: Barbara Michaels, Third Act Critic
Rating: ***
Based on the iconic film starring Michael Caine and Steve Martin, classified as “the funniest film of all time,” Dirty Rotten Scoundrels first hit the London stage as a musical a year ago. Telling the tale of a mega scam pulled by a couple of conmen on the French Riviera who pull out all the stops in a no holds barred contest in order to win the affections (and thus access to the money!) of a millionaire soap heiress, it’s harmless fun in today’s world beset by drug offences and more. Nothing is as it appears – reflected in an atmospheric and skilfully lit set where even the palm trees are manifestly fake!
There is no doubt whatsoever that as a comedy film starring Michael Caine and the wonderful comic actor Steve Martin Dirty Rotten Scoundrels worked wonderfully well; the question is, does it work as a musical?
The answer is yes – but only up to a point. A stage production has advantages and disadvantages over a film – two very different art forms cannot, and do not profess to be, identical. The snap, crackle and pop that characterised the 1988 film does not really get going in the stage version until the second half, when it suddenly finds it feet.
This is due in part to one of the major additions which writer Jeffrey Lane has made to the original film script i.e. the romance between Andre, the hapless and reluctant aide to camp of conman Lawrence Jameson, the conman responsible for laying the trap – or rather traps – to catch an heiress. As Lawrence, Michael Praed is suitably debonair and suave, but could at times be sharper off the mark, but as Andre old-timer Mark Benton has a masterly control of the comedic, delivering his lines with an inherent chuckle. As the object of his attentions, the ‘lady of a certain age’ Muriel – British as opposed to American as in the film – Geraldine Fitzgerald is a delight. The musical number ‘Like Zis/Like Zat’ which she sings with Benton is a gem, and fully justifies adding an additional element which, although it would have been superfluous in the film, greatly enhances the stage version.
Noel Sullivan, as the ‘innocent’ conman the susceptible and lovelorn Freddy whose misadventures are at the centre of the mayhem, performs with gusto. As Christine Colgate, the blonde- with- the- dosh , who is targeted by the conmen, Phoebe Coupe responded magnificently to the challenge , due to Carley Stenson being unwell in the first night at this venue, coming into her own in the hilariously funny ‘Love is My Legs’ in Act II.
A great ensemble performs the dance numbers with verve and expertise and showcases some wonderful costumes, reflecting the era in which the story is set. Overall a show to be enjoyed for what it is – entertainment, and not to be taken too seriously.
Runs until Saturday August 22nd at the Wales Millennium Centre.
Review Dirty Rotten Scoundrels, WMC By James Briggs
It’s well and truly the season in Beaumont-Sur-Mer on the French Riviera, and the game is on for suave con man Lawrence Jameson who makes his living by conning rich women out of their money. This season however things are not as usual, with the arrival of one Freddy Benson, a young American upstart who threatens Jameson’s lifestyle. After an attempt at working together a bet is made to win a ‘prize’ that would see the other leave town for good.
It is never easy adapting a classic film into a musical. The score created by David Yazbek and Jeffrey Lane is very dynamic and has some hilariously comical lyrics that have the audience in stitches for the majority of the show. David Yazbek’s songs give the show a very classy feel and then combined with Jeffrey Lane’s brilliant comedic script leaves the audience laughing and wanting more.
Key to the success of Dirty Rotten Scoundrels Musical is the onstage relationship between Lawrence Jameson played by Michael Praed and Freddy Benson played by Noel Sullivan. There is an instant chemistry between these two actors, leaving the audience having just as much enjoyment and fun as them on stage. This too is shown when watching Michael Praed and Noel Sullivan carry out their elaborate cons in varying comical numbers such as All About Ruprecht and Ruffhousin’ Mit Shuffhausen. Both Praed and Sullivan have faultless comic timing and are also blessed with incredible voices that really work well with David Yazbek’s score.
Phoebe Coupe is every bit the equal of the two confident con men Jameson and Benson. As Christine Colgate she seems the perfect target but this charming young lady hides a great secret. Phoebe Coupe has a great voice and sparkles as she gets taken in by Jameson and Benson and their elaborate scheme.
Geraldine Fitzgerald plays Muriel Eubanks, a classy dame who travels around the world looking for love and living life to the full. From her first appearance, you can’t help but love Muriel, she has a feeling that she knows she’s being conned but yet she’s still here.
The casting of Mark Benton as Andre Thibault, Lawrence Jameson’s right hand man is brilliant and has created far more of a comic interpretation. His scenes in act two with Geraldine Fitzgerald’s Muriel had the audience crying out for more and had a certain element of Strictly Come Dancing about it. Mark Benton has a real talent for comic timing and he deploys it with superb effect at key moments throughout the show.
One cannot write a review of this magical show without of course mentioning the very hardworking ensemble that provides the cherry on top of the cake for this musical. With the many characters portrayed from hotel staff to sailors the ensemble gives a feeling of overwhelming talent with their ranges simply impeccable.
Jerry Mitchell, as Director and Choreographer creates a truly wonderful atmosphere with the slick staging and equal parts of hilarity. Matthew Brind has provided the show with boundless orchestrations and arrangements and under the baton of Musical Director Ben Van Tienen, the show is jammed packed with life and incredible energy that spreads to the audience leaving their toes well and truly tapping. The score is a joy to listen to something I could do every evening.
I believe a special mention should go out to Peter McKintosh who has provided a stunning set for Dirty Rotten Scoundrels. Scene changes are effortlessly transformed with style and always complimenting what is happening on stage and never detracting from it. His costumes are to die for with an abundance of panache and a suitable dose of classiness. Even though Freddy doesn’t have the best dress sense it adds and compliments his character.
Dirty Rotten Scoundrels The Musical is a wonderful evening at the theatre. Its sheer fun and you would be hard pushed to find anybody who could walk out of the theatre without having had a great evening with a great deal of laughs. This show really does “Give Them What They Want” and offers “Great Big Stuff”. This posse of classic con artists are heading to a theatre near you very soon and you’d be a Dirty Rotten Scoundrel by not seeing them.
Young Critic James Briggs with cast member Noel Sullivan who plays Freddy Benson
Review Barnum at Wales Millennium Centre, Cardiff by Barbara Michaels
Barnum at Wales Millennium Centre, Cardiff
Book by Mark Bramble
Lyrics: Michael Stewart
Music: Cy Coleman
Reviewer: Barbara Michaels
Rating: 4.5
Jugglers, acrobats, gymnasts et al entertain as the audience takes their seats – latecomers miss a treat. Spectacle and excitement with dazzling displays of circus expertise – Barnum has them all. Based on the life of American showman Phineas Taylor (PT) Barnum who took his team of trapeze artists clowns, jugglers plus talented performers such as the singer Jenny Lind all over America and the major cities of the world, this is musical theatre traditional style given a new fillip by Cameron Mackintosh in this Chichester Festival Theatre production.
All the elements of the original Broadway production are here, but for those who were fortunate (or are old enough!) to have seen the production starring Michael Crawford which ran for a record-breaking 655 performances at the London Palladium after it opened in 1981, the big question must be: Does Brian Conley who is playing the demanding and exhausting role of showman PT Barnum live up to the almost-impossibly-high standard created by Crawford?
The answer has to be: Yes! Yes! And Yes! Conley’s Barnum is a likeable con man who could charm monkeys off trees – and does. Though when he forsakes his long-suffering wife Chairy, whose views differ radically from his as to what is right and what is not, siding with him becomes momentarily difficult. Even here, how can you feel anything but gut-wrenching suspense for a man who walks a tightrope to get to the temptation awaiting him on the other side in the shape of a delectable Swedish opera singer?? Metaphorically speaking, you say? No – in a daring act which took weeks to perfect, Conley actually does walk the tightrope. Indeed, throughout the show, along with the rest of the cast, he runs the gamut of acrobatic and dance skills with aplomb and style.
The bubbly Linzi Hateley more than holds her own as Chairy, the wife who despite brooking none of her circus-loving hubby’s nonsense, remains true to him till the end. The story of their marriage, with all its ups and downs, runs in perfect tandem with the on-going razzmatazz of the show, peppered with songs such as the foot-tapping ‘Come Follow the Band’ which opens Act I and Barnum’s theme song of ‘There Is A Sucker Born Ev’ry Minute’ plus the poignancy of ‘The Colors of My Life’ sung with feeling by Conley and Hateley, as is ‘So Little Time’ later, in Act II. If there is a criticism to be made – and in such a polished production it seems almost invidious to do so – it is that Kimberly Blake as opera star Jenny Lind, while looking stunning and ethereal in an ice blue creation that would not look out of place at the Oscars, is a tad too ethereal. The lack of chemistry between her and Barnum renders their love affair not entirely believable – a minor hiccup in an otherwise five star production.
A considerable chunk of credit for the fizzing excitement that characterises this high-energy show must go to the ensemble. On stage for most of the time, the acrobats, trapeze artistes, high wire experts and dancers never flag. Some neat cameo roles, too, from David Birch as an anxiety-ridden Wilton, while Edward Wade’s Julius Goldschmidt is a gem.
With great costumes and breath-taking staging – including a mock-up of the nether limbs of an elephant – this show is a firecracker.
Runs until Saturday August 15th
https://www.wmc.org.uk/Productions/2015-2016/DonaldGordonTheatre/Barnum/