Category Archives: Theatre

Review Les Misérables, Cameron Mackintosh, Wales Millenium Centre By Becky Johnson

An eclectic evening of wonder, passion and skill.

What an incredible first experience of the infamous Les Misérables. So much thought and care had been given to each and every part of the evenings’ performance. It was this specific attention to detail that really drew the audience into the world of pre-revolutionary France.

Firstly, the set, Wow! The set used a mixture of visual effects alongside moving structures to create an immersive experience for the audience. The onstage set, predominantly wooden, was etched with details. From small engraved phrases to the layering of different components. The visual effects truly brought the set to life by adding intricacies to things that would otherwise be forgotten. Such as the water rippling and the stars twinkling. But only ever so slightly, just enough for you to question whether it’s really there at all or just your mind playing tricks on you.

The lighting played such a crucial role within the piece. Alongside the projected visual effects, it would bring a sense of realism to what was occurring on stage. An image of the meeting of the revolutionaries comes to mind. The light seeping through the barred windows, reflecting off the faces of the Males whilst they walked through the shadows making small talk with one and another. It was also with moments like the gunshots, where a bright light would suddenly glare, making the plot more accessible to the audience.

Even in the way the actors spoke it was evident the clarity and precision in which they gave out their words. Those deemed more common were usually paired with a Northern accent and those of a higher class with a more queens English. The use of different accents and dialects allowed clarification for the audience but also context as to the stereotypes and opportunities in that era.

The use of detail was also not only evident in the voices of the performers but most predominantly in the ensemble. Each performer held their own character, with their own physicality and own storyline. One could easily get lost watching the ensemble, with so many options to engage with. It was often the more hidden moments happening in the background which would cause me to smile or question things more deeply.

It wasn’t usually the way in which the text was presented as to how your emotions were driven. The text tended to set the pace, which kept a high engagement for the audience throughout the piece. Instead, the orchestra were key to how you responded to what was occurring on stage. At the moments I received goose bumps, I realised it wasn’t from the solos. Instead, from the accompaniment and the resonant quality that it echoed around the theatre creating an atmosphere unlike no other.

Each member of the cast was incredibly talented and without one, the piece wouldn’t be the same. It is truly the fine details which make this piece so magnificent and I predict it’s one of those where regardless of the amount of times you watch the performance, you would be drawn to different characters and their own tales each time. There are limited tickets available for the remainder of the performances but if you do get the chance to go, you are certainly in for a treat.

Review Behind the label, Theatre Versus Oppression and Wales Millennium Centre by Rhys Payne

 out of 5 stars (5 / 5)

Behind The Label is a production by Theatre Versus Oppression supported by both the Wallich charity and Wales Millennium Centre itself (which is where this production was held) is a very important piece of awareness of important issues that anyone can face.

The name in itself is an incredible creative decision. The show is called ‘Behind The Label’ and it is about a group of people who are judged and many people have negative pre-convinced ideas about. But by these people telling their real stories, they are portrayed as normal everyday people who have gotten into bad situations (like anyone can) it is literally exploring the people ‘behind the label’s. This is defiantly not a family-friendly show and is clearly targeted at a more mature audience due to the nature of this show. It includes references to addictions, sex and drug use as well as very strong language.

The show is about a group of people who share their stories of how they ended up homeless but also discusses how some of them ended up in prison, addicted to drugs etc. There are only a few ‘characters’ in this show (namely the air hostess) but everyone one is simply playing themselves and talking about their personal experiences. These are normal everyday people who have lived through horrendous experiences and helps the audience understand how easy it is to end up in similar situations and that it isn’t always necessarily the individual’s fault/choice.

One of the many ideas people nowadays about homeless people is that’s it’s their choice and that they are doing it just for the money but this show aims to dispel those types of myths. This show defiantly gives a voice to those who are literally and figuratively ignored both in real life and in theatre by allowing people who have actually experienced these things to talk about everything that happened. Because of the real-ness of the narratives, this is an incredibly moving and emotional show that had the audience and even members of the cast in tears. However, the whole show isn’t all serious and deep there was a very hilarious sketch that occurred as a replacement for in-flight entertainment. They used a massive projection screen (which they also used to show interview-style scene) to show a recording of the exact same cast on stage recreating the iconic Britney Spears song ‘Toxic’ while this was hilariously funny, it also worked really well due to the lyrics relating to the nature of the show.

At first, I thought the fact that this play was set on a plane with the name ‘Easy Inject’ was really strange. But after a while, this became very clear. Many things in the show related to the plan such as not belonging as you don’t have a ticket, taking a leap of faith and actually the Toxic video was historically also set on a plane. This inclusion was a very clever way to transition from story to story as were all of the tying together key ideas in the show. The other unusual thing about this show is that from my perspective the script didn’t particularly matter as it was about each individual story rather than a bigger overarching narrative. In fact, that was a moment towards the end of the show where one actor forgot their lines and someone else helped them on stage which didn’t take anything away from the show in the slightest.

The issue I had with this show was not at all the cast or the creative team but rather with the audience. During the production, I watched there was a member of the audience who decided to shout empowering messages throughout. While I understand being incredibly moved by the stories being told, I do think that this was distracting for the other audience members and clearly put off some of the cast. Ignoring this though, overall this is an incredibly important piece of theatre that is all about giving a voice to the voiceless. It did everything it needed to do and had the audience feeling the full range of emotions. I would rate this play 5 out of 5 stars and would encourage people who interested in how theatre can be used to empower people, to catch this show before it’s gone!

Review HamletMachine Volcano Theatre By Lois Arcari

For anyone who is inclined to believe they’re not a fan of performance art, Hamlet Machine is not a baptism of fire, but a baptism of dirt and UV lighting. I’ll start off with the good parts. The way that the company transformed Volcano’s space was simply amazing, sets changing sometimes only half an hour after their debut dressing.

Particularly impressive were the more overtly interactive spaces.

This is where the play shines, immersing yourself in world of the playwright and putting the audience inside the fishbowl of spectatorship. When it works, it lifts to the show to something far livelier than the sum of its parts. The set and script prompt you to respond directly to the actors at various points, poke holes in the play’s logic or simply try to position yourself with more power.

One thing I was sceptical of was the fact that the actors were occasionally instructed to touch the audience. While personally I only found it momentarily irritating it’s easy to show imagine some people reacting badly to it in an already sensory assaulting show. I’m not fundamentally against it – but the fact that there was no prior warning isn’t entirely sensible.

The decision to
allow audiences to bring in their drinks to the show was also badly thought out
– even if you don’t spill your drinks onto the floor of the interactive sets,
you’ll feel them churn with discomfort throughout the play.

The actors were all superb in each of their facets, their voices blending with intermittent physicality. You could believe every turn of despair and mundanity. As a chorus, however, individual talents are lost in the repeated chant.

And in the script
itself. The scatological reprises got stale quickly. The ultra-metaphor became
bland just at the point of discerning meaning.

While the story
behind the story is incredibly moving – a harrowed survivor of WW2 and post war
Germany, anything truly profound is buried in the bluntly hammered points. For
something created to shock and question, it’s a shame that I can remember no
standout lines or even phrases. (Except for one which caused my eyes to roll.)

While the play
is meant to represent a total loss of innocence, the absurdity is childlike in
itself. Oddly enough, the play generated more goodwill as a deconstruction of
creative work than as a meditation on cruelty. Somehow the sheer reach diluted
the horror, from profound to merely irritating.   

The theatre of
the absurd is often loved but I was struggling to decide whether the audience’s
intermittent laughter was out of shrewd appreciation or sheer manic exhaustion
with the show.

Quite possibly
both.

I think the
small ‘introductory tour’ that we had before the play would have been much
better positioned afterwards, to give a more enriched sense of context, and the
opportunity to grapple with it in somewhat ‘real time.’ An enhanced sense of
conversation might have generated more appreciation for the play.

To give the
play its credit, I’ve researched the reception to other staging’s of the play and
the bare text. While a significant majority of critics have given the live play
rave reviews, the reception of the bare text is somewhat oddly more tepid.
Leave this one to those audiences who will enjoy the fruitless task of
interpretation more than they hope to enjoy the play itself. The rest of us, uncultured
as we are, are probably better off sitting at the bar.

DYMA ADOLYGIAD criw brwd, Yn ei blodau. (REVIEW CRIW BRWD, YN EI BLODAU LOWRI CYNAN IN THE WELSH LANGUAGE)

Yn Ei Blodau” yw cynhyrchiad cyntaf Criw
Brwd a drama gyntaf Elin Phillips. Cwmni newydd mentrus Elin a Gwawr
Loader yw’r cwmni ifanc yma ac maent yn awyddus i leisio barn merched sy’n
goroesi bywydau anodd yng nghymoedd y De. Mae’r ddrama’n olrhain hanes Fflur,
athrawes ifanc sy’n rhy barod i blesio ei mam a’i chariad Scott. Mae’n ceisio byw
y bywyd traddodiadol benywaidd – swydd barchus, perthynas, priodas a phlant – ond
yn dawel fach, mae’n dyheu i wrthryfela a thorri’n rhydd. Mae ei mam yn dyheu i
weld ei merch yn setlo a chael plant, ond yn dawel fach, mae Fflur yn dymuno
byw bywyd heb gyfyngiadau, cyfrifoldebau na disgwyliadau. 

Mae’r
ddrama ar adegau yn llawn hiwmor deifiol a sefyllfaoedd doniol, ond ar y cyfan,
mae caethiwed a rhwystredigaeth Fflur yn ein sobri. Mae’r wên deg sydd ar
ei hwyneb yn fwgwd i’r tristwch oddi tano. Daw hyn yn amlwg wrth iddi
geisio ufuddhau i reolau ei phartner Scott yn ogystal â’r euogrwydd mae’n
wynebu wrth iddi wrthryfela.  

Portreadodd
yr actores Kate Elis y cymhlethdodau hyn yn effeithiol drwy arwain y
gynulleidfa drwy amrywiol sefyllfaoedd ac argyfngau ym mywyd Fflur.  Roedd
ei gwaith corfforol (dan ofal medrus Eddie Ladd) yn dda, ond hwyrach byddai
deunydd ehangach o’r llwyfan a’r gwagle wedi ategu at y perfformiad. Defnyddiodd
yr actores rhywfaint o’r offer llwyfan mewn modd symbolaidd, er enghraifft, y bêl,
ond nid oeddwn yn teimlo bod angen cymaint o’r offer hyn ar hyd y llwyfan.
Serch hynny, hoffais y deunydd o olau a sain a oedd yn ychwanegu tipyn at
awyrgylch y ddrama. 

Er
bod cymeriad Fflur yn teimlo ar goll ac yn fregus, yr hyn sy’n rhoi gobaith
iddi yw y plentyn mae ar fin geni. Dyma fydd ei ffocws, ei dyfodol newydd gwell
mewn byd sydd weithiau’n greulon a ffug. 

Llwyddodd
y dramodydd i ddefnyddio hanes Blodeuwedd – un o ferched mwyaf arwyddocaol ein
chwedloniaeth – fel is-destun i’r ddrama, ac roedd hyn yn gorwedd yn gyfforddus
o fewn sgript sy’n trafod yr un themâu, sef  nwyd, caethiwed, disgwyliadau ac wrth gwrs rôl merch
mewn byd sydd wedi’i reoli gan ddynion.  Roedd hon yn noson lwyddiannus
arall yn y gyfres “Get it while it’s Hot” ac edrychwn ymlaen at weld cynhyrchiad
nesa’r cwmni, ‘Pan Ddaw’r Haf’ ym
misoedd cyntaf 2020.

Review Nativity The Musical, Wales Millennium Centre by Rhian Gregory

It’s mid November, the temperature is dropping, gifts and decorations are out in full force in the shops, Christmas lights are starting to be switched on, what a perfect time to go and see a show. The Nativity the musical, at the Wales Millennium Centre in Cardiff is here. What a start to get into the festive spirit!

We had a fantastic opportunity to go along to experience the smash hit stage musical, from film screen to stage, adapted by Debbie Isitt.

It’s the lead up to Christmas, the children of St Bernadette’s are preparing to appear in their school nativity. Mr Maddens the class teacher, and his new assistant Mr Poppy, a very excitable and energetic teacher, are given the task of organising the school nativity. When out looking for a school Christmas tree, they bump into Mr Shakespeare, a teacher from Oakmoor prep. Mr Madden tells him that Hollywood is coming to their school to film it. The rest of the school hear Hollywood are coming, they are so excited. Mr Madden confides in Mr Poppy telling him it isn’t true, and they embark on a journey to find a way to make it happen!

The cast are incredible, and the talent shining through from the children is commendable. It’s almost impossible not to smile with the humour from Scott Paige ‘Mr Poppy’. I enjoyed the charisma of Charles Brunton on how he portrayed Mr Shakespeare. Polly Parker is played by Dani Dyer (appeared on 2018 Love Island and actor Danny Dyer’s daughter).

My 8 year old son, Cody, came along with me, he found it “enjoyable” and “so fun”. We both liked the projection of the star lights into the audience. It was magical.

On the way down in the lift, Cody asked if we were coming back later in the week to watch it again and said he will take the nativity programme into school with him to show his teachers and friends.

An added bonus to the programme, it had children’s activities inside, colouring, word search, crossword and spot the difference.

Our favourite songs were ‘Hollywood Are Coming”, “Herod The Rock Opera”, “Nazareth” and “Sparkle And Shine”.

Feel good, festive fun for all!

Nativity the Musical is in Cardiff, at the Wales Millennium Centre from Tuesday 19th – Saturday 23rd November.

To Book your tickets and for more information, here is the WMC Wales Millennium Centre website.

They will be in Plymouth next, followed by Southhampton and London.

Review Écrit, NDCWales Roots Tour by a student of Coleg Cambria

In this review I will be reviewing Écrit  from the Roots dance show I went to go and see which was by National Dance Company Wales, it was performed at Theatre Clwyd.

There were four different dance pieces, some of them I preferred over others. The first dance piece was called Ecrit, I found this dance piece really interesting because when i was watching it I couldn’t fully understand the storyline to it and there were many different possibilities to the storyline as well which I really liked because it left a bit of mystery to the piece.

The dance piece was inspired by letters because the dance piece’s title means writing in French. I felt like in this
piece the man behind the sheet was painting his feelings about his love he couldn’t get too because you felt the connection throughout the piece between the two dancers even though they weren’t fully dancing together and you couldn’t really see one of them either. I found that the background music made the piece more emotional and touching to watch and if there wasn’t any music there I feel like it would of looked as good because there wouldn’t be anything there for the dancer to flow to and create the moves to either.

Another storyline I came up with while watching this piece was that the man behind the sheet was losing his mind and I thought this because of the way he was moving and dancing behind the sheet. As I have briefly mentioned before I mainly thought that both dancers where two lovers that couldn’t get to each other because of distance and
the only way they speak is through love letters which tie back
into the inspiration of the piece.

At some point in the performance I did find it a bit creepy especially when the dancer behind the sheet went bigger and smaller and started to control the female dancer in a way. Then once both dancers could be seen it was the most touching for me because the way they both were dancing together so effortlessly really brought the ending of the piece together and it felt the male dancer was caring for the female one. Also something I wasn’t expecting was the singing in the performance which was the singing in the performance which I wasn’t quite sure worked because I felt like the mystery of who these people are was taken away when we started singing in my opinion.

Review Roots, National Dance Company Wales, by a student of Coleg Cambria

The first piece Ecrit presented by National Dance Company Wales as part of the Roots tour was based on a Mexican relationship. What I took from this was that even though the man was the one who was restricted in prison it seemed to me as though he was getting his freedom through the woman that he loved and he was living his life through her.

The second piece was called Why Are People Clapping and the interpretation I got out of this was that there was always one person who was in control and whenever that person clapped the rest would follow and whenever someone almost didn’t listen then they would then become the one in control.  Overall I feel this was an OK performance and I feel that it could have been more clear as to what it was that was going on.

Codi was the name of the third piece and it was about the welsh miners. The interpretation I took from this was that it was about the struggles the miners would face. I also took the deep groans of the backing music as the horses pulling the carts of coal from deep within the mountains and I also thought it was about the explosion.

The last piece was called Rygbi and the interpretation I got from this was that it was about the love that the Welsh have for Rugby. Personally I liked how they used actual rugby movements and routines to show emotions.

Review Roots, National Dance Company Wales, Theatr Clwyd by Francesca John Fabiana Suarz.

 out of 5 stars (4 / 5)

Roots, presented at Theatre Clwyd, was an excellent dance performance. With four pieces: Ecrit, Why Are People Clapping?!, Codi, and Rygbi: Annwyl/Dear (in celebration of the Rugby World Cup in Japan). The production kept you on your feet, never once knowing what was to be expected. Even the opening of the show was well presented by choreographer Fearghus Ó Conchúir who gave off a wonderful vibe that made you squeal in excitement, waiting for the show to begin. Even in the breaks of the scenes, the audience were given time to chat with each other of what they think the show was about, what they liked and any other questions to put towards the cast, crew, and company.

Where there were 4 performances I will say the
1st: Ecrit, and the 3rd:Codi, were my favourite; the 1st act seemed to be based
off Frieda and her lover Diego, with strong movements and flexible arm
movements, the two dancers had put together such a good job that I would put
that as number one. Everything about it, the chemistry between the actors, the
music, the lighting, and especially their clever way of having one large sheet
center left of the stage, and then there would be a light casting through and
the esteem dancer: Moronfoluwa Odimaya, would dance behind and create this
magnificent silhouette. What I loved the most about this piece was not that it
was swift, intricate, and elegant, but how the dancers were so in sync and even
when there was a sheet between them, it would look as if they were standing
right next to each other.

Although Ecrit was my favourite, everyone gave it their all. However there were a few routines such as Codi, where the fog machine did give off an eerie looming effect on the stage and with the lights attached to the dancers; sometimes all you could see were the lights and not so much of the dance that I would rather be focusing on. Rygbi, was very well presented, it was wonderful to see a large group work so well in carrying out the performance, I felt at times it become a little repetitive, Where the other dances were shorter, they got their point across, and I feel that is mostly because given a certain amount time for presenting, you have all lots of ideas that you would want to put across which makes it even more interesting and making you wish you see more.

Overall, I have such high respect for this amazing company and its dancers. Being a student from Coleg Cambria, we create few devised pieces, either because we don’t have enough experience with dance in general, or that you have “writer’s block”, and watching this performance really gave a better approach as to high I can interpret some of the moves I had seen that evening into one of my own pieces.

What an inspiring, fun and lively night, I would recommend Roots 100%. I would love to give this production a 4 star rating, and would definitely bring my family and friends to watch this again and again.

Choreographers/Directors: Fearghus O Conchuir, Anothony Matsena, Ed Myhill, Nikita Goalia

Dancers: Ed Myhill, Nikita Goalia, Aisha Naamani, Moronfoluwa Odimaya, Elena Sgarbi, Tim Volleman, Marla King, and Ellie Marsh.

Review Roots, National Dance Company Wales, Theatr Clwyd by Katie Price

 out of 5 stars (5 / 5)

I recently had the privilege of going to see ‘Roots’ by National Dance Company Wales, at Theatr Clwyd.  This performance included four different dance pieces which consisted of ‘Ecrit’ ‘Why Are People Clapping ?’ ‘Codi’ and ‘Rugby: Annwyl/Dear’. These dances were performed by a small but strong ensemble cast that made the dances look really interesting. In between the dances, the audience got the opportunity to share their opinions/views on what they watched, which I think made the audience look deeper into the story behind each dance.

The first dance presented to the audience was
‘Ecrit’. This was a duet that was performed with one person behind a screen so
this created a shadow-like figure. This was visually interesting for the
audience and I made me think about the different things that it could
represent. This helped to show the status of the two characters at different
points in the dance. There were also sections in the dance that were performed
without music. This made me realise that dance is just as effective without
music as it is with music.

Another dance we saw was ‘Why Are People
Clapping ?’. This one stood out to me the most because I found it fascinating
how the dancers were creating the rhythm themselves and they all managed to
stay in time. Although the rhythm didn’t change, the speed of the dance did and
I found it clever how everything still managed to fit together perfectly.

The third dance ‘Codi’ had more of a
theatrical vibe to it. As the dance progressed, the acting element became very
clear. This made the audience connect with the characters emotions and got them
hooked on the journey that they go through.

The last dance piece that was performed was ‘Rugby: Annwyl/Dear’. This included very strong ensemble work. I loved how energetic this piece was and how well the sport of Rugby was shown through a form of dance eg. lifts, running around, supporting each other. Although the dance was performed really well, I think that at times some of the movement was repetitive which sometimes made the story hard to follow.

Overall, I enjoyed hearing people’s views on each dance as they were sometimes different to what I thought so it made me think about the dance from a different perspective. Also, in the dance ‘Ecrit’, there was a section in the dance where one of the dancers sang a few lines of a song. I think this worked effectively as it made the audience realise that dancers also have other talents and this could be incorporated into a dance to put a twist on it. Finally I enjoyed how the acting through the dance pieces was over exaggerated as this helped the audience to understand what was going on throughout the dances. I think the show could have been better if some of the dancers shared their own views on the dances as it would have been interesting to hear if any of the storylines of the dances changed throughout the rehearsal process.

In conclusion, I would rate this five stars as I think that the audience interaction was incredibly unique and each individual dance was performed with a lot of emotions and with strong movements. 

Review Roots, National Dance Company Wales, Theatr Clwyd by Chloe Kerr

 out of 5 stars (4 / 5)

The performance Roots is made up of four
short dances (Rygbi, Ecrit, Why Are People Clapping?, Codi). All four of these
pieces are from Wales. I personally got different ideas about each of the
dances as they progressed. I found that I often changed my mind of what I
thought the pieces were about.

The first piece we watched was Ecrit. Throughout this dance my ideas developed. I got the impression that it represented some kind of forbidden relationship because of the battle between the man’s shadow and the girl on stage. However, I also got the impression that it represented communication between a soldier and his girlfriend/ wife. As the piece progressed I found myself leaning towards the latter option. I feel that it was beautifully executed and I think having the male as a shadow to show they weren’t together was really effective. I found it really interesting how everyone had different opinions on the piece when we talked after the piece, however I feel that they all seemed to relate to one another.

The next piece was Why Are People Clapping? This piece was my favourite! In this piece I found it really interesting how they incorporated so many different elements into it. They used many familiar things such as clapping, tennis and head shoulders, knees and toes. It was also weird because clapping can be used in polar opposite situations, it can be used as support or in anger as a sort of come on kind of thing, or in a patronising way. I loved how the claps really controlled the whole of the dance and also switched the mood of the piece. I really like how it started and ended with the tennis match, which led me to believe that all these different parts in the middle were what was going on in peoples head as they watched the tennis, although I may have misinterpreted this.

The third dance was Codi. Throughout this
dance I got the strong impression that it was based on miners. The use of
headlights (which were worn on their necks) really helped to portray this scene
for me. This piece was full of emotion and it was something that really
represented what miners would go through. I think it was executed amazingly and
I love the use of the sticks. Now whilst I did love the use of lights on their
necks I found that at some points it also held them back in a way because it
meant there were many movements we lost because it was too dark. Although I did
love this piece.

Lastly Rygbi, which is pretty much explained in the title of it is based on rugby. I thought this piece was beautifully choreographed, it was amazing to watch popular rugby moves slowed down and turned into a beautiful dance that represents teamwork and helping each other out when they’re down. It had a really soft look to it even though it was mimicking a really hard and rough sport which I thought was really effective. I loved how the dancers all seemed to rely on each other throughout the piece which really added to the togetherness and community feel of rugby. I also read up on it and found out that it was actually made with some input from rugby players and fans, which I think really adds to the authenticity of the piece. The only criticism I have for this piece is I think it went on slightly too long. This piece lasted around twenty five minutes, and I felt that some of the movement were repeated throughout which meant we lost the rawness of the piece. I personally feel that this piece would have been a lot more effective and made more of an impact if it was slightly shorter.

Overall I really enjoyed the show! I loved how it was laid out and how interactive it was. I loved the discussion in between each piece, I feel that this really brought the audience together and it was lovely to hear other people’s interpretations of each piece. Overall I would give the show four stars!

Choreographers – Nikita Goile, Ed Myhill, Anthony Matsena, Feargus O Conchuir

Dancers – Nikita Goile, Ed myhill, Aisha Naamani, Moronfoluwa Odimayo, Elena Sgarbi, Tim Volleman, Marla King, Ellie Marsh