Poignant. Needed. Physical. Breath-taking. No Man’s Land enters the theatrical landscape at a time when approximately 40% of men will not open up about their mental health. A time when men account for 3 out of 4 suicides. When 30% of men admit that they have no idea where to turn to for help or support if they begin to suffer with anxiety and depression.

Based on Kyle Stead’s own lived experience, the new play from Rachel Trezise with direction from Matthew Holmquist (and co-direction from Kira Bissex), is one of the most visceral, realistic and gritty displays of mental deterioration I have ever witnessed on stage. The physicality of the performance and the sheer energy and desperation that Kyle pours and crafts into his performance are nothing short of breathtaking. The script is punchy, distinctly Welsh, cleverly drip feeding us information whilst holding back the final gut punch until the very last moments. We are mesmerised trying to work out what has happened to the protagonist, Lewis, guessing parts and knowing in the pit of our stomachs what is coming, but not fully knowing until the dying embers of the performance.

The performance of Lewis’ descent into the No Man’s Land of his mind has Kyle pounding across the stage of wood chippings, diving, throwing himself without warning between the barbed wire of one end of the stage and the bar of the rugby club at the other end. The sheer physicality of the performance here is beyond belief. Kyle truly captures the descent into mental disarray and despair. This is peppered throughout by brilliantly naturalistic voice acting with the whole of Lewis’ circle of acquaintances presented in an audio way. The delivery of lines here is exceptional, they could be in the room with us. The way the lines interweave with Kyle’s own delivery as Lewis emphasises that Lewis is truly alone and living through memories of his own trauma. The cast of voice artists include Tori Lyons as Llinos, Lewis’ mam, Richard Elfyn as Ronnie, Rhys Parry Jones as Mervyn, Tobias Weatherburn as Josh and the teacher, Toby Hawkins in a beautifully poignant rendition of Younger Lewis, just before the traumatic incident and Phillip John Jones as Callum.

This production is delivered exceptionally from set design to sound to lighting. The whole design of the piece melds so seamlessly together to create an urgent, needed piece of theatre that everyone, especially men, need to see. I also really love how this is an accumulation of so many fantastic organisations coming together to create something that is so important; Kyle Stead Productions, Sherman Cymru, RCT Theatres and support from Platfform, but also having Silence Speaks present after every performance, captioning at every show and BSL interpretation at certain shows, means that this important, topical play becomes accessible to all. For Kyle’s performance alone, the show is exceptional, but the way it comes together from all aspects is what is truly brilliant here.

(5 / 5)

Were it not for my military obsessed 12 year old son, I doubt I would ever have considered going to see War Horse, but as soon as I saw it was coming to the Wales Millennium Centre I knew I had to take him and I am so glad I did!

I think initially my son was a bit disappointed with the minimal set on the stage – it looks nothing when you arrive and take your seats, but within minutes of the production starting you are transported into a different time and what follows can only be described as epic!

As we were waiting for the performance to begin, I read the opening few paragraphs of Sarah Hemming’s article ‘A Crazy Experiment’ in the official programme, and it has really made me reflect upon what we’ve seen.  National Theatre director Marianne Elliott confessed that when she first encountered the idea of a stage version of Michael Morpurgo’s classic tale, she thought it was ‘completely mad’ and she’s right!  How on earth do you have a horse as a main character on stage, convey the bond built-up between boy and horse over time and represent the horrors of the first world war in just a couple of hours of theatre?  THIS is how you do it!

From the second the foal Joey bounds on to the stage, the audience is totally enchanted.  There is no attempt to make the overall appearance of the puppets realistic but they are completely convincing.  From every subtle twitch of the ears to the flick of the tails, I was in awe of the puppeteers and all I can think is that they must have spent hours sitting in stables, fields and watching video footage of horses, to be able to recreate such life-like behaviour through these incredible creations.  The opening scenes between Tom Sturgess (Albert Narracott) and Joey (as both foal and then horse) are touching and utterly spellbinding.  I felt Albert’s trepidation as he tries to win the trust of the skittish little foal, and his frustration as he tries to tame the thoroughbred into becoming a working horse, because the nervousness and then the power of the young and adult Joey respectively, were so accurately portrayed in the nuanced sounds and movements of the puppets.  The attention to detail is mind blowing.

As the story moves on, punctuated by regular little flashes of humour and clever observations about life at the time, the designers come into their own.  How do you convey the scale of war?  How, in just over an hour, do you move the audience from the bravado and propaganda at the start of the war, through the juxtaposition of terror and  camaraderie on the battlefield to the sheer desolation and futility towards the end without risk of dishonouring the memory of the many real people that lost their lives?  Clever use of sound and lighting, slow motion, graphics, moments of humour and humanity and moments of feeling shocked and overpowered by the scale of the props in perfect combination, take you on the journey and draw you into the ever changing tide of emotions.  My 12 year old didn’t fidget once, he was transfixed, as was I, for the entire show.

Overall I felt that this production is a masterclass in theatre production.  Every aspect of it from design to puppets, acting (and puppeteering) to special effects and use of the space, combine to make you leave the theatre feeling like you’ve been part of something extraordinary.  There are only a few times in my life when I have left the theatre thinking – ‘I will remember that for the rest of my days’ and War Horse is definitely one of them.  In these times when we hear that AI will takeover the world and so much of the entertainment we consume is in bite-sized reels and TikTok videos, it was reassuring to be reminded of the quality that can be achieved when a team of talented, creative people work together to bring the impossible to life.  I now want to take everyone I know to share in this special experience.

Kate Richards

Get the Chance

Image Credit Kirsten McTernan

The Visit from Paper trails allows us an insight into a little seen experience, but one that is so important for the people involved. Watching a mother, daughter and auntie meet at the nearest women’s prison to their South Wales home opens the door into conversations around justice, responsibility, connection and the ripple of consequence that can effect families for years to come.

The pared back set by Designer Lucy Hall, helped us to focus on the three-hander, as well as the integrated BSL provided by the prison guards, looming over the characters whilst also giving a new layer of meaning. We were always aware of the theatricality of the form of the piece, from breakaway monologues, heightened lighting and an eerie soundscape. But his balanced with the humanity and the family at the core of the play.

The chance to imagine ‘what would I do in this situation’ is something that is such an important aspect that theatre allows, while the chances of being dealt the very tough cards of Ffi and Carys are low, the reality that many of us could make a mistake that would affect the rest of our lives is a true one. Angharad played by Lizzie Caitlin Bennett balanced awkwardness with being forced to grow up far too quickly.

The company’s work in researching and developing the piece is apparent, and the understanding of the current flaws of the justice system are an important theme, using verbatim moments in Sian Owen’s writing. This is the 2nd tour of the show around South Wales and the continuity of having the same creatives is apparent, as well as showing the possibility of sustainability and social worth.

The Visit is touring South Wales and you can catch it, as well as find out more about Paper Trail here

Photo Credits Kirsten McTernan

Despite being bombarded by borderline torrential rain and aggressive gusts of wind, The Other Room’s production of “An Orange In The Subway” certainly wasn’t dampened by the bad weather. With an outstanding leading performance from Mica Williams, the play raised important questions about homelessness and whether or not there truly is some other-wordly being watching out for us. 

The play follows Cassie (Williams), a homeless young woman who is convinced she has a guardian angel- she keeps being left oranges in the subway. Accompanied by the incredibly talented Osian Lloyd and François Pandolfo, who had mastered multirole, the trio didn’t let the weather or the subject matter stop them from delivering a moving interpretation of the play and its characters. Williams’ talent for handling dark, gritty emotions really shined in this role- at some points you could forget that she wasn’t really Cassie and that her sharp defensiveness was merely acting. During her reunion with one of Lloyd’s characters, known only as The Banker, you could feel the desperation in her voice as she asked him all of the questions she was dying to know the answers to. With both the start and end of the performance featuring Cassie and The Banker, the small detail illustrated the never-ending cycle that is life on the streets. Additionally, Lloyd and Pandolfo’s distinction between their multitude of characters was commendable, with a particular highlight being Pandolfo’s portrayal of the all-too-realistic drunk girl. 

One of the most interesting characteristics of this production was the outdoor setting- Mackenzie Park’s trees arching overhead provided a serene, secluded backdrop for the play. Upon entry, we were given the option between sitting on tarp or cardboard- no matter what option you chose, you were only ever about two meters away from the actors and the show, which heightened the authenticity and conveyed the messages of the performance. As we were all on the same level as the stage, it was easy to immerse yourself in the show, with the actors even coming into the audience and breaking the fourth wall at some points.  

If anything, the dismal weather conditions added to the drama of the performance. The inner English student in me wanted to point out the pathetic fallacy in the climate- during the most intense moments, the rain seemed to get heavier, the temperature seemed to drop by a few degrees, and the wind pelted my umbrella (which I was very grateful for). The lighting choices- made by lighting designer Katy Morison- further set the scene, with warm oranges flooding the performance space from below, and light blues occasionally tinting the scene.  

Even though I ended up getting absolutely drenched, I left Cardiff that night with a million thoughts swirling around my head regarding the performance- all positive. It certainly wasn’t an experience I’m going to forget any time soon.

Photo Credit Kirsten McTernan

It is not often that a play invites you into the performance space itself, but An Orange in the Subway achieves exactly that. The production was staged in Cardiff at Mackenzie Park, where the wooded area was transformed into the stage. This performance unfolded on the same level as the audience, placing us directly alongside the characters and blurring the line between stage and reality. Additionally, the performance was both intimate and atmospheric, making us witnesses to Cassie’s story.

At the heart of the storyline is Cassie, portrayed with depth and spirit by Mica Williams. Cassie is a woman navigating through the harsh struggles of homelessness, caught between survival on the streets and wrestling with questions of spirituality and her guardian angel. Mica Williams brings out Cassie’s sharp-edged defensiveness to protect herself and her raw vulnerability grappling with fear, guilt, and the feeling of being forgotten, making the duality of her performance absorbing.

The production also made wonderful use of multi-rolling, with actors transforming fluidly into different characters, each new encounter standing for a reflection of society, some people judgmental, others kind, and all of them shaping Cassie’s understanding of how people view her place in society. The characters who passed through her life clarified the reality that homelessness is an embedded part of everyday life and that her struggle was a product of the same community that surrounded her. By the end of the performance, her reconciliation with her friend, The Banker, felt deeply earned, a moment of peace that closed the story of her journey.

What uplifted the performance further was its design; the use of the props in so many creative ways allowed the wooded space itself to become part of the storytelling. This included the lighting choices, created by Lighting Designer – Katy Morison, which used oranges and cool blues to shape the atmosphere; the gentle music, by Composer – Tic Ashfield, played a vital role in welcoming us into the space; and the sound effects, which deepened scenes, created atmosphere, and grounded the audience into a believable world.

At its core, An Orange in the Subway is about how people grasp onto signs of hope, even in the darkest circumstances, and trust that something spiritual might take place to carry them through those moments of misfortune and hardship. This matter was embedded through Cassie’s journey, from her desperate search to find her guardian angel, to her concluding moments of reconciliation and peace. This performance shines a light on the overlooked struggles of homelessness while highlighting resilience, forgiveness, and the human connections that carry humanity through life. Owen Thomas’s writing, the production team’s vision, Mica Williams, Osain Lloyd, and François Pandolfo created an experience that I believe was thought-provoking, moving, and one that I can proudly say that lingers after the final moment.

You can find out more about the production and book tickets here

All Photo Credits Kirsten McTernan

A cold and windy night was the perfect setting for The Other Room’s newest co-production ‘An Orange in the Subway’. Performed outside in Mackenzie Park, in collaboration with The Wallich. The show really brought in all the senses as the audience sat on the ground, watching the actors as they deftly performed Owen Thomas’ story.

The performances were incredibly impressive. Mica Williams’ Cassie was our focus and hardly had a moment to breath in a very intense hour of performance. The desperation, confusion and loneliness of the character shone, and Williams’ physicality added to the creation of the world we joined. François Pandolfo’s multi-rolling, added layers to the story and the different characters he can create are always impressive. Ranging from the recognisable to the absurd, we glimpsed the breadth of those that form Cassie’s world of Cardiff- a particular highlight was the very drunk girl we could all recognise. Osian Lloyd’s performance was a stand out for me, I was so impressed with the nuance and differences between the characters portrayed. The Bankers’ opening lines immediately drew us in and the shifting between worlds and characters throughout kept you engaged and part of it.

This was hugely helped by the setting, and kudos needs to go to Katy Morison’s lighting and Tic Ashfields sound. Both made you aware what you were seeing was a performance, but heightened the action and created the world of angels as well as embracing the natural world and darker nights we are heading into.

Whilst there were so many positives, the show has made me question my expectations around art for arts sakes and the responsibilities of showing a topic such as homelessness. If the show wasn’t in collaboration with The Wallich, I would be tempted to find some of the characters as closer to stereotypes rather than full humanity. Owen Thomas’ verse was hard to immediately grasp, moving us from feeling the show was made from a point of truth.

The strongest moment of the play I felt was Cassie sharing with the statue of Nye Bev that she’d tried the support out there, but all the rules and curfews were too much. This was a great insight into the complex struggles that exist between the help that is out there and the people most in need, as well as the power of autonomy. I expected to see more about what help does exist and the next steps for the characters, but then that might have felt kitsch and shoved in, when for so many people there might not be a happy ending.

Leaving, I struggled to decide what the outcome of the piece was. Now, not all theatre needs a call to action or an objective I know, but especially when it was so based in rough sleeping not just in subject but in setting, I was expecting to leave and feel something. Some sort of next step or understanding of the struggles people face and an idea of what may help.