Cynhyrchiad hir disgwyliedig Canolfan Mileniwm Cymru yw Anthem sy’n cael ei llwyfannu yn y Stiwdio Weston tan Orffennaf y 30ain. Braf yw gweld cefnogaeth i’r Gymraeg a sioeau newydd mewn sefydliad sy’n denu cynulleidfaoedd eang a gobeithio mai arwydd o ymroddiad ehangach i’r theatr iaith Gymraeg yw hon.

Sioe Gerdd a chomedi dychanol yw ‘Anthem’ wedi’i selio ar fformat rhaglenni realiti megis ‘X Factor’ sy’n ceisio dyrchafu pobl gyffredin yn sêr dros nos. Mae chwarae ‘tafod mewn boch’ ar fformat rhaglenni adloniant sgleiniog fel ‘Eurovision’ a ‘Can i Gymru’ yn amlwg yma hefyd, yn enwedig o ran cynllun y set deledu, arddull y sioe a steil y cyflwyno cawslyd o slic. Cymeriadau stoc yw’r dalent sy’n aros i gael eu pum munud o enwogrwydd yn yr ystafell werdd – Teleri (Rhian Morgan), Eifion ac Esyllt (Gareth Elis a Lily Beau Conway), Leon (Iestyn Arwel) a Gerald (Rhys ap Trefor). Mae pob un o’r rhain yn cynrychioli ardaloedd o Gymru ac yn cynnal y gomedi wrth rannu eu bywydau bach pantomeimaidd gyda ni. Mae geiriau eu caneuon unigol wrth iddynt berfformio (a gobeithio dod i’r brig) yn adlewyrchu eu ffantasïau ystrydebol. Mae ochr dechnegol y stiwdio deledu yn siambls llwyr ac yn cael ei redeg gan griw bach hollol ddibrofiad ac aneffeithiol. Tudur y Cyflwynydd sy’n angori’r cyfan, yn ceisio achub y dydd, a’r sioe o ran hynny! – ac wrth gwrs ei yrfa, er bod ei ymdrechion yn aflwyddiannus yn y pendraw.

Yn sgil y rhialtwch, mae gan bob un ei angst personol, sydd wrth gwrs yn ychwanegu ymhellach at y gomedi a’r ffraethineb, e.e. Teleri, sy’n dyheu i gael ei derbyn gan yr ‘in-crowd’ Cymreig ac Eifion sydd eisiau rhedeg i ffwrdd mor bell phosib ohono! Mae’r cyfan, y themâu a’r mathau o gymeriadau yn dwyn i gof cyfresi teledu Cymreig o’r gorffen.

Cafwyd dawnsio a chanu, tantrums a dagre, gyda chydweithio hyfryd rhwng y cymeriadau. Ond mae’r cystadlu bitshlyd a’r antics erbyn y diwedd yn cilio. Yn hytrach mae’r cymeriadau, neu rai ohonynt o leiaf, yn sylweddoli bod eu bywydau bach cyffredin yn ddigon! Does dim angen yr enwogrwydd ffug arnynt i fod yn hapus!

Felly os y’ch chi ffansi noson ysgafn mas mewn theatr hyfryd, dyma’r sioe i chi. Mae’r deunydd yn addas hefyd i ddysgwyr gan fod y ddeialog a geiriau’r caneuon yn cael eu cyfieithu a’u taflu ar daflunydd sy’n rhan o’r set liwgar. Sioe 90 munud yw hon – dim egwyl, ac mae modd mynd a diod gyda chi i’r theatr. Ar ben hyn, mae pris y tocynnau’n rhesymol o’i gymharu â’r prif awditoriwm. Joiwch!

OCD, or Obsessive Compulsive Disorder is close to me and the people in my life. Recent theatre I’ve seen and my own work/fundraisers remain in the back of my head. How can we portray this ghastly condition on the stage. Can we truly make people care?

Along comes StammerMouth with an expectedly profound piece, about OCD and those around the people who experience it. Directed by Nerida Bradley with a sharp eye for detail, CHOO CHOO has the snazzy, primary coloured vibe of a 70s children’s programme. Yet, a helping of Don’t Hug Me, I’m Scared and WandaVision peeps through with an angular distortion as the story stagnates. The feelings of isolation and worsening mental states are never far away in an ever increasing bout of anxiety. Both characters of Nye and Duncan have a strong, brotherly bond, leading to some later touching bits. You can only assume they spent lockdown together and this was the catalyst for the entire show.

Nye Russel Thompson (who also wrote the work) has poured his heart out here, the debilitating nature of the disorder constantly compromising his way of life. It’s clear that the condition can convince you making yourself think you’re capable of awful things. A radio set seen on a table spouts bile about a knife next to it and other horrible ideas that are naturally never acted upon. The efforts of fellow performer Duncan Hallis adds a soulful energy to the show, sincere in more sympathetic scenes. Both actors bounce off each other very skilfully, the humour is often solid. Some surreal moments, with dark comebacks remain as highlights. 

Much love needs to be sent to Julie Doyle, the BSL interpreter for the evening. Though she was a slight part in the actual drama, she could have been utilised even more, her loitering of  downstage right apparent throughout. Some sweet moments came when people in the audience before the show would sign with her, with some bouts of laughter. The set as well is simple and effective, white blocks which change colour work very well in the space. The opening song, heard throughout is such a catchy tune, I’ve yet to get it out of my head (speaking of which, the Kylie scene in a manic ). The song itself is a roll call for both guys, Nye’s slipping out of tune and rhythm due to the descent of his intrusive thoughts. 

It’s super to see more theatre being made about mental health, especially after the life altering pandemic, something were not fully out of. I said in another recent review about OCD that “work like this could save lives”. This remains the case with this most recent piece from StammerMouth.   

CHOO CHOO! You are not your thoughts continues at Chapter Arts Centre till 23rd July 2022.

Hi Francesca, great to meet you, can you tell us about yourself and your work?

Hi! I’m a female, working class director- born and bred in Swansea, then went to drama school in Liverpool, where I now live. After graduating back in 2014 I had a short stint of performing but I quickly realised how much I enjoy carving out the stories I want to tell. The fantastic Kate Wasserberg offered some assistant director experience as the trainee director at The Other Room Theatre in Cardiff. It’s through her that I met one of the most influential people over my career, Tamara Harvey and started my wonderful relationship with Theatr Clwyd where I went on to be one of the first recipients of the Carne Trust Traineeship for Directors in Wales.

The work I make is influenced a lot by music. Since a child I’ve loved singing and dancing, and I find music is at the core of a lot of my productions. I’m drawn to real stories, real people and the extraordinary moments in everyday life. 

 You have just directed a new play A Pretty Sh*tty Love, what role does music play in this production?

Before I even knew what the script would be, I had a composer on board. I love working with Alexandra Faye Braithwaite I think she’s extraordinary and her work is so intricate and emotive.

We knew that the piece would be heavily underscored and that music would be its own character. It’s a real story about a real woman who was buried alive in Swansea by her abusive husband. It’s a two hander but heavily told by the main character, Hayley, who draws back on memories. Music is a way to evoke memories for all of us and, in this production especially, it’s the thing that helps lead her through her story. I feel like I won the theatre lottery by having Katherine Chandler write the script, because her writing is so musical anyway so it’s really beautiful to underscore. Kath writes real people better than anyone I know and I think it’ll be a really special, important story to tell. 

A Pretty Sh*tty Love plays at Theatr Clwyd from Fri 8 – Sat 23 July and Chapter Arts, Cardiff Wed 27 – Fri 29 July.

The performance at Chapter on Wednesday 27 July has a post show Q&A with Francesca and Writer Katherine Chandler.

There is BSL Interpretation by Sami Dunn on Friday 29 July

 This chat is specifically about music and the role it has played in your personal and professional life. To get is started what are you currently listening to? 

I had serious FOMO not being at Glastonbury this year. I love live music and so I watched all of the highlights on TV. So, I think that’s influenced a lot of my current playlists. Currently, it’s Holly Humberstone, Maisy Peters and Haim. I always have Haim on repeat – I think they’re just amazing. Weirdly, I saw them in a tiny gig in Philadelphia back in 2012 when no one knew who they were and the drummer played one song on the kit with her heels. I knew I loved them then. 

We are interviewing a range of people about their own musical inspiration; can you list five records/albums which have a personal resonance to you and why? 

1.Tina Turner- Proud Mary.

This takes me back to uni, student nights out and moving to Liverpool.

2.Badfinger –No Dice (album)

 I’m currently developing a new Badfinger actor muso piece with my good friend and creative partner Daniel Lloyd, written by Swansea playwright Tracy Harris. I think this album is extraordinary; the talent of these boys is just unreal. 

3.Meatloaf- Bat Out of Hell 

I put this album on whenever I need a big pick me up, or long car journeys when I need a good sing-a-long. I love how theatrical it is and how every sing is a full production. Growing up I listened to a lot of musical theatre as I wasn’t that interested in new music (the exception being The Spice Girls obvs). 

4. Jamie T – Panic Prevention (album)

It was SO hard to choose just one of Jamie T’s albums. He’s always been one of my favourites and I think the person I’ve seen live the most. Me and my best mate Louise were just obsessed. We’d get in from a night out in Swansea and wake up the next morning with tickets to his gig, having no recollection of buying them. We’d know every song word for word and sing it as loud as we could in the car!

5.Phil Collins/Genesis

This is such a cheat, I’m sorry! But I really couldn’t pick one album or song. My parents would play Phil Collins constantly growing up and they still do! I love listening to him, it reminds me of home and makes me think of my mum and dad. The three of us recently went to his final Genesis concert in Liverpool and I remember thinking, I’m going to remember this moment forever. It was really special. 

Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this? 

Without You – Badfinger. (From the No Dice album) 

The story of this band has stayed with me so much over the last year or 2 whilst working on the show. Just a couple of boys from Swansea, with so much talent who just wanted to make music, and they had such a sad end. The story is heart-breaking. People think this song was written by Harry Nisson, or maybe younger people might think of Mariah Carey, but actually it was a lad from Townhill, Swansea- Pete Ham. He wrote it with bandmember and scouser Tom Evans. So being from Swansea, living in Liverpool, it feels particularly special.

(4 / 5)

‘A Shoddy Detective & The Art of Deception’ features four energetic and talented actors; Becky Bartram, Luke Rose, Jordan Stratton and Mitch Donaldson. This play is amusingly cheerful from the offset; fuzzy smiles, warm welcomes & teases from the cast towards the audience casually strolling in, intrinsically lures the crowd in towards an evening of helpless chuckles, laughter, innuendos & classic banter for all age groups to understand & absorb well.

When the Great Lord & Lady Raeburn discover at their auction that their masterpiece painting has been stolen, instant panic and fear hits them hardcore. The Detectives are immediately contacted to intervene & catch the wanted thief! Assigned to this case is the disgraceful slacker ‘Brian Taylor’ who gets partnered up alongside the sharp & genius detective ‘Dusty Wills’ to help him get to the bottom of the crime investigation. 

Upon questioning and close examination, each and every one of Lord Raeburn’s staff and guests pays off nicely as they mysteriously get closer & closer to catching the mysterious thief by unlocking the houses deep, dark & deadly secrets; both the known and unknown, taking us all on an adventure to conquer this painting investigation. The multi-characterisation in this play is impressive, as well as the dashes of romance, excitement and enticement which continues throughout.

Overall, the actors held their accents well, their charm and witty humour and quick costume changes is well maintained, being the cushion of a true comedic parody which gives this play a unique comedic style. Whilst ‘Brian Taylor’ played by Luke Rose represents a shoddy detective without a doubt due to his slapstick act during the all cast fight scene towards the end, his helpless flirtatious moments and plot twists to win against the odds… not only satisfying to watch as we track down the smooth criminal but most definitely a good laugh too!

(4 / 5)

I arrived at The Cockpit Theatre tired from the rushed venture from nearby Paddington, for one last hurrah in London. I prepared for what I was about to see. Obsessive Compulsive Disorder is very personal to myself and my family, with some friends also having the condition as well. Going in with my own history with the condition, I was curious to see how others would express their obsessions in a theatrical vein.

Concept Theatre have put their cards on the table in a telling depiction of OCD. Essentially a show of two halves, the sharp and witty Catarina Thane is Matilda, our guide through the show and creator of a podcast all about OCD. Elements of her performance give cabaret vibes with singing and audience participation. Catarina did a great job to make the audience feel welcome and relaxed, as we were about to infiltrate some dark territory.     

The other side of the shows sees scenes with the sisters Tilly and Grace, the latter arriving back from uni. Grace is not sure what’s wrong with her, craving reassurance that bad things won’t happen to the people around her and frantic draw opening and closing sessions are never far away. These moments are funny and honest, the dialogue realistic and far from arbitrary. Sarah Eakin as Tilly, demonstrates the condition well. Stewing in her rituals, lost to the world for a trinity of repetitions, this reaches its zenith when Grace sees the intensity of her sisters condition in full force. Jasmine Hodgeson, as someone who has OCD, gives warmth and a sisterly rivalry for Tilly’s plight, at first saying the typical quips you’d expect to hear (hence the name of the show). 

Matilda coming back and for between the tableau was a nice touch and gives rest bite to the intense anguish of the rumination seen within the sibling storyline. Director/writer Ria Fay also gives a pleasing turn as Grace the therapist who rescues Tilly from her own mind. Phrases such as “Groinal reaction”, “That’s against your views” and “Thoughts are not facts” pass the expert’s lips and have a profound impact on both Tilly and the audience. This hit close to the bone for me, as a person with OCD can convince themselves they are a bad person who may commit bad acts. Need I say more? 

Even with the grappling such serious topics the show still is amazing and had some powerful insights into the condition. Even for myself, with not a confirmed diagnosis, certainly find aspects of it within me, though I would never utter the name of this show as it’s easily become the definitive statement that people with the actual condition can’t bare to hear. My advice is to increase the Lynchian elements of the show, a lone, flickering lightbulb and some ominous whooshing set the scene to plunge into the recesses of the mind. 

A Q & A with the cast and director proved how important work like this is today. I hope the rest of the shows get good audiences and responses. Theatre like this could save lives…

“I’m Just A Little Bit OCD” continues on tour around London at Southwark Playhouse on 19th June 2022 and at Chickenshed for captioned performances on 26th June. 

Constellations is an honest, moving and at times humorous exploration of the impact of loneliness on our older generation, and the power of community

Devised and performed live over Zoom, Constellations will premiere 15 – 17 June 2022

Welsh Arts in Health charity Re-Live have announced the premiere of their latest creative ageing theatre show – devised and performed by a diverse cast of older people living across Wales, aged between 72 and 95.

Constellations is a candid and urgent exploration of the impact of loneliness and isolation on our elderly community. With playful humour and refreshing honesty the nine members of Re-Live’s Company of Elders explore the stigma of loneliness and how the arts can build resilience to cope and respond to this issue.

In the post-pandemic world, whilst theatre productions are now back ‘in the room’, working with an aging cast presents unique challenges that makes Zoom performances the perfect medium. For some of the cast, ill health means that leaving the house is difficult, for others their geographical isolation keeps them apart. By rehearsing and performing live on Zoom, the pan-Wales cast (from Cardiff to Caernarfon) are able to create together and share their experiences from their homes.

The cast of Constellations includes:

Julian Moyle, an opera singer who at the age of 95 has recently married for the first time making headlines around the world.

Nicky Delgado, 74, who had a stroke during lockdown, is rehabilitating his speech and movement through taking part in the project. His stroke has left him unable to leave the house, but in the digital world he can express his poetic soul from his armchair.

Jill Grey, 82, received a scam phone call and shares its devastating impact on her confidence and desire to connect with others. Jill uses the arts to boost her wellbeing, through summoning memories of Jive nights in 1950s Cardiff.

Nora Jones, 76, is living with Parkinson’s and shares how despite the challenges she faces in her life as an older person, the greatest challenge of her life was combating isolation when living in London. Since she moved back to Wales in later life, she has found a new sense of community and loves nothing more than speaking Welsh again.

The performance is in memory of Company of Elders member Michael/Michelle O’Neil, 84. During their time in the group Michael/Michelle was able to share their transgender identity, and how living with the secret had prevented them from finding real belonging. Michael/Michelle died in April, but they found total acceptance within this group of creative, non-judgemental older people.

“Digital exclusion can have a hugely negative impact on an older person’s life, leading to an increase in loneliness and social isolation.” says Karin Diamond, Artistic Director of Re-Live.

“Since Covid we all understand how vital it is to be connected digitally, but it’s a myth that most older people in Wales are online. Re-Live are delighted to partner with Welsh Government to enable this incredible group of inspirational elders to connect online and get creative together.

“Older people have so much to share, and we all miss out when we don’t hear directly from them. The Company of Elders are paving the way to inspire older people across Wales to get creative online. They are crossing the digital divide, in some style.

“It’s been amazing to discover how much you can do on Zoom with a group of older people who are all in different places around Wales. The level of intimacy and connection in a shared online space is remarkable. It can also be deeply frustrating when someone has logged off accidentally, or their computer is suddenly restarting. But despite the technical hiccups every member of the Company of Elders is a star, and though they live far apart they come together online to form a bright new constellation.”

Constellations will premiere live over Zoom at 1pm on 15, 16 and 17 June 2022, with an evening performance at 7pm on 16 June. Tickets are priced as pay-what-you-can and are available from http://www.re-live.org.uk/constellations