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.
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.
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.
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
This touring programme of new pieces of contemporary dance creates something of a buzz – a buzz provoked by the NDCW’s Artistic Director, Fergus Ó Conchúir coming forward to encourage audience members to talk to someone near them who they don’t know about their reactions to the work.
The approach will
work for those who, like me, are a bit mystified by dance and perhaps also for
those who have come on their own. It
might not appeal so much to purists because it generates a bit of atmospheric
untidiness: conversations start up and
have to be quietened down. Still, given
that the whole programme is not very long, there is time for all of this.
As for the main
event itself – the performances and the choreography – I should repeat that I am relatively ignorant
as far as dance goes. I am not dance
phobic but if I go to see a show it is usually a play or a concert, possibly an
opera, very occasionally a ballet – almost never contemporary dance. Unfortunately for development officers, we
are all creatures of habit. This is a
shame because, ‘knowing what we like’, we don’t venture far from our comfort
zones to take in new experiences. I had a complimentary ticket from Theatr Clwyd
and a free evening and I’m glad I was able to see Roots.
The programme contains four pieces. Ecrit is choreographed by Nikita Goile and features two dancers. Both Why Are People Clapping? by Ed Myhill and Codi by Anthony Matsena featured four or five, and Rygbi by Fergus O’Conchuir himself featured seven – or was it eight? The imprecision in my counting is not just middle-aged muddle: it’s a reflection of the impact of all the dynamic and fluid body movements out in front. You lose track of numbers because of the intensity of what is going on.
Ecrit is about a man and a woman and the
balance of power in heterosexual relationships. Rygbi is about rugby, prompting thoughts of what it would be like
if economics and logistics permitted a full team of at least thirteen dancers.
However, I’m not
sure that what the pieces are said to be about, or what the choreographers and
the dancers themselves intend to do, matters much. The performances take you some distance
beyond the start point. The titles and
notes really only serve as spring boards, or launching points for your
reactions. (You don’t think about rugby,
for example, in the same way as you might watching a performance of Hull
Truck’s Up and Under). The show’s overall title, Roots, is not hugely satisfactory
because it reminds you of the eminently forgettable best-seller/blockbuster
movie/TV series phenomenon. But it’s
there to let you know that what you going to see is largely about Wales, having
been made in Wales by people who work there, or who are Welsh themselves.
Knowing that the
start point for Ecrit was a letter to
Diego Riviera by Frida Kahlo made me search for references to them and their
painting, to murals and to Mexico – but only briefly. Dance tends to liberate you from your
thinking through the movements – in this case by the movement of the woman’s
hands, which dance together, forming shapes expressive of both passion and
suffering. The piece depends on a
dramatic use of a screen and shadow play to convey the essential distance and
separation in a relationship. The male
dancer is concealed from view – as he is from his lover – and appears at first
only in silhouette, the back lighting permitting him to grow massively in
stature, like a nightmare monster and then shrink.
Why Are People Clapping? asks a question for which of course there is no real, single answer, other than ‘just for fun’ – although the loud, sustained and rhythmically very accurate clapping throughout must be hard work for the performers. It provides a percussive sound wall which the dancers move against, either together or in solo movements. It’s very reminiscent of flamenco, except that here there is no singing and no shouting and, as with much of the programme, the musical accompaniment is not very noticeable.
Codi is apparently about ‘the strength
of the Welsh communities who come together to tackle isolation and depression
during troubled times’ but if you hadn’t read the programme notes you could be
excused from thinking it was about coal mining.
This is because the main impact of the piece is achieved through the
ingenious use of single bright lights worn around the neck by the dancers,
instead of on helmets. They shine out
through a smoky atmosphere at you and their beams strike out in all
directions. The dancers are also dressed
in overalls which don’t restrict them but which do suggest they are miners.
Rygbi was very
well done – NDCW performed it for the World Cup in Japan – but I found it the
least interesting of the four pieces. This could be because it came on last and by
that time, despite the conversations and the detailed introduction, I had had
enough contemporary dance for one evening.
I wanted there to be more humour in it – rugby being fairly ridiculous – and even some ugliness – rugby is also often
quite unpleasant. (It’s not a beautiful game!) I was unsure about what the dancers were
wearing – brightly coloured ensembles, tops and shorts and long socks which
were definitely not team strips. What
happened drew a lot on typical rugby moves but I was unsure, I suppose, of what
the piece was saying and it wasn’t a comfortable uncertainty.
That said, this
was a good evening’s entertainment, giving me plenty to think about and lots to
remember. It may also encourage me to
see contemporary dance more often. I
think, in the end, it’s a pity that, for a number of reasons, dance occupies a
separate niche in theatre and that it has to be enjoyed in isolation. Dance was originally central to drama and
even today it can be effectively introduced in plays. A weakness of much modern drama is its lack
of physicality, with actors relying on their delivery of text and not
understanding the importance of suggestive body language and sinuous physical
expression. What shows like Roots demonstrate is how evocative and
expressive pure movement can be on its own, when it is performed by talented
and disciplined dancers in companies like NDCW.
Long may they continue to tour.
Dyma brofiad theatrig diddorol. Mae ‘Mags’, drama ddiweddaraf Cwmni Pluen, a ysgrifennwyd gan Elgan Rhys yn gynhyrchiad awr o hyd ond yn un sy’n eich gadael angen gwybod mwy. Mae’r stori yn mynd â ni ar daith y ferch ifanc o Ogledd Cymru i Lundain a nôl i’w phentref genedigol. Ond nid yw ei thaith yn un rhwydd. Mae’n profi anhapusrwydd plentyndod ac yn ffoi i chwilio am antur yn Llundain lle mae’n colli’i ffordd yn llwyr. Mae’n darganfod rhyddid peryglus dinesig, cariad dros dro a beichiogrwydd. Ond o’r holl themâu hyn, efallai mai’r un mwyaf torcalonnus yw’r ffaith ei bod yn rhy ifanc i ofalu am ei phlentyn ac yn gorfod rhoi ei merch i ffwrdd. Mae colled ar sawl lefel felly’n amlygu yn y stori hwn.
Llwyfannir y ddrama mewn gwagle addas a defnyddir symbolau yn unig i ddynodi lleoliadau. Roedd y cyfarwyddwr, Gethin Evans, wedi stwythuro hyn yn dra effeithiol gyda deunydd o garped, cadair syml a gorchudd plastig. Does dim angen mwy oherwydd mae’r actorion yn medru awgrymu’r sefyllfaoedd drwy eu gwaith corfforol. Ensemble o bump sy’n perfformio yn y cynhyrchiad – Anna ap Robert, Seren Vickers, Matteo Marfoglia, Eddy Bailhache a Casi – ac maent yn defnyddio cyfuniad o waith traethu, deialog, canu a gwaith corfforol yn dda. Roedd eiliadau hynod deimladwy gyda’r actorion yn creu delweddau emosiynol iawn gyda’u cyrff. Ond cryfder y ddrama i mi oedd y sgôr gerddorol a’r caneuon. Teimlais bod hyn yn gyfeiliant hyfryd a theimladwy i’r stori, gyda llais hudolus Casi yn serennu.
Roedd gwaith goleuo Ceri James hefyd yn creu awyrgylch addas i arddull symbolaidd y cynhyrchiad.
Er bod darnau hyfryd i’r sioe hon, roeddwn yn teimlo fy mod am wybod mwy am fywyd Mags, yn enwedig wrth ddeall ei bod dal yn hiraethu am ei babi a gollodd flynyddoedd yn ôl. Mae’r ddrama yn trafod themâu oesol fel pwysigrwydd perthyn a cholled sy’n gyffredin i bawb. Byddwn yn annog pobl ifanc yn arbennig i weld y ddrama hon er mwyn cael syniadau ynghylch arddulliau theatrig gwahanol.
Roots is an engaging, diverse, and emotional production that marries Welshness with contemporary dance and gives life to art that is accessible without compromise on quality. Roots is the biannual production by the National Dance Company that brings dance to audiences around the world and around Wales. It makes its way into venues with little technical equipment and space, in towns and villages around Wales, to bring dance to new audiences. Roots succeeds equally in introducing new audiences to dance and in delighting dance enthusiasts.
This year’s production features four very different pieces from four choreographers at different stages in their career and artistic maturity. Écrit, choreographed and performed by Nikita Goile is an emotional dance recounting a conflictual love relationship executed beautifully. Goile, a budding choreographer, combines an elaborate work of hands, inspired by Indian Bharata Natyam dance, with her lover’s silouette behind a curtain, and a more traditional duet form. It is effective in conveying the power imbalance between the two lovers, the hurt, and the closeness. The only weakness of the piece comes from its inspiration: the letters of Frida Kahlo to Diego Rivera. Although they both had other lovers, Kahlo suffered from Rivera’s numerous affairs. In Écrit, Goile’s graceful and gentle movements do not capture the intensity of Kahlo. Having suffered from polio, Kahlo had very weak legs, underwent many surgeries, and had miscarriages. Kahlo’s suffering body was the source of her art and Kahlo used her body to reinterpret her Mexicanidad. Écrit isat its strongest when Kahlo is forgotten and Goile is herself. Goile conveys a nuanced fragility, which contrasts with the powerful gestures and movements of Moronfoluwa Odimayo as her dominating lover. It is effective and moving.
The second piece, Why Are People Clapping? is also by a new choreographer, Ed Myhill. It is an entertaining and funny piece that conveys the joy of dancing to the rhythm of elaborate clapping. In contrasts with the intimate piece Écrit, Myhill’s Why Are People Clapping? plays to the audience and for the audience. It begins with a tennis match with no actual balls or rackets, conveyed by only a single clap and well-timed movement. It is all so well tuned that you can almost see the ball hit the racket. The piece includes dancers in a semicircle taking turns to do and enjoy a solo to Steve Reich’s clapping music, followed by claps that bring order and dictate action, a catwalk, and a run through as many facial expressions as possible. I would have liked the tennis players in 1970s headbands and wristbands for a replay of Borg v. McEnroe, but Clapping oozes fun anyway.
The third piece, Codi (rise up) is by emerging choreographer Anthony Matsena, who is finding his voice in a socially and politically aware dance infused with energy. Codi takes the audience underground, into the mines of the Welsh Valleys. There is a sense of suffocation, isolation, struggle, and helplessness. The small headtorches the dancers wear around their necks are used effectively to convey the darkness of suffering, of perishing, of being forgotten. Then, they rise up. They beat wooden rods to the ground and the energy rushes through the body. There is power in being together. Together, we can rise up. When I interviewed Matsena, he told me that once you recover, you still have the past hurt with you, like a ‘stain on the shirt.’ With soot on their clothes and faces, the dancers face the audience calling for attention. The past is not forgotten; it is there to give strength and purpose.
Roots concludes with the longer piece Rygbi. Annwyl i mi, by Fearghus Ó Conchúir, the Artistic Director of NDC Wales. Rygbi captures the passion and synergy of players and fans of the game, which ripple across the whole of society in Wales. It is the national game that takes over cities altering time, colouring the pavements with people in red shirts, and getting us stuck in traffic. Rygbi does not borrow movements from the game, it extracts the essence of rugby and gives it a new form. The piece alternates duets, ensembles, and solos to guide us through effort, injuries, fatigue, hopes, victories, and defeats. The dancers-players touch one another and in that touch is being part of a whole, something bigger than oneself, that is made of each one’s individuality. Dancers, like players, rely on one another, know what the other can do, is likely to do, the other’s weaknesses and strengths. Like players, they create together. Rygbi is elegant and strong. It is a painting and it is theatre. Ó Conchúir takes us onto the pitch with colour, movement, and music. He makes us breathe the tension of the competition, feel the strain of the muscles, and sense the elation of victory. Rygbi uses the language of dance expertly to tap into our emotions, thoughts, and ideals, and creates a moment of shared passion and commitment.
Roots is currently on tour. More information can be found here.
Hela (The Hunt) tells the story of a young woman (Erin’s) hunt for her missing little boy; her hunt for truth and justice and revenge and empowerment and the restitution or rescue of a Welsh culture which has been destroyed by a totalitarian, digital and male English culture. The setting of tiny abattoir on a remote farm is very well-realised by designer Delyth Evans and Set Builder Will Goad – it feels solid and real, including its digital screens and use of technology – the modern and the ancient are convincingly blended in the tiny space of ‘The Other Room’ and that is a genuine achievement.
The play attempts to meld an array of battles
into one: the Welsh culture represented by a young, rural woman with poetic
sensibilities and an overwhelming sense of loss is pitted against the English
culture represented by Hugh, a privileged abuser, who has himself been abused
and been robbed of his own Welsh-ness by abuse (the real representative of the
crushing English culture being The Circle – the dystopian algorithm which
dominates life and justice); there is a gender battle; a battle for language; a
battle between the small, human farmer and the megalithic, abusive system; a
battle over victimhood…and on it goes.
Mari Izzard’s dystopian, bilingual piece is a
challenge for performers and audiences alike.
The bi-lingualism is not part of the challenge – this is handled deftly
and purposefully utilised – it feels central to the storm of ideas that whip
through this short two-hander. Any fears
that this might be grant-driven lip-service to the language were quickly
dispelled.
The real challenge for the performers is in
realising the intensity which this bizarre and dreadful scenario demands, The direction is not at issue here. The space is well worked; the intensity is
built and relaxed appropriately and the relationship between the two figures
does build quite convincingly, given the material. The huge challenge centres around the
character and performance of he character of Erin. We are informed repeatedly in the early
moments of the play that she looks very young; she is referred to by Hugh as a
‘child’ and she intends him, initially, to believe that she is also a prisoner
of ‘The Circle’. Lowri Izzard has the
unenviable task of delivering this mannered, fake naivety sufficiently to take
us in, but at the same time, to give us doubts about who or what she really
is. Physically, she looks right for this
– there is a kind of teenage appearance in the early sections realised through
movement and expression but it is distracting, unconvincing at times and
irritating. We were meant to be
unconvinced by it but even that wasn’t quite convincing.
Later in the piece, when we begin to see who she
really is, Lowri Izzard delivers a strong and moving performance. When her character wants to torture Hugh, but
can’t do more than punch and tickle him, her humanity despite her dreadful
situation and what has been done to her, is moving and evident. It is only when he gets free and attacks her
that she is able to commit the emasculation which is the play’s natural
denouement.
Gwydion Rhys as Hugh, has much less of a
challenge. I wouldn’t have fancied the
role – it looked a very physically uncomfortable one, and the character, though
given something of a sympathetic back-story seems a bit thin. He is too sympathetic a figure for too long
and when his crimes are revealed they seem plot and issues driven and
unconvincing in terms of the character.
He delivers a strong realisation of the role though, undoubtedly,
particularly in his delivery of the movements between English and Welsh.
In retrospect, this is a thought-provoking play,
but one which tried to explore too many issues, albeit hugely important ones,
in a very short piece. The later stages
of the play are the strongest. Despite
looking very good, the early stages of the play, once the strong opening is
over, feel contrived and don’t always hold the interest. We sit outside the action rather than feeling
riveted and drawn in. As the play
builds, and Lowri Izzard’s performance is allowed greater rein by the writing,
this does draw us in to a powerful and well-played conclusion.
Written and performed by Carys Eleri (‘Love Goddess’ in English) this one-woman show is like a cross between Fleabag, Eminem and Bonnie Tyler, exploring the science of love in a way that is earthy, informative and Welsh. It’s also very, very funny.
At heart it’s a monologue about the dangers of loneliness, which now has its own page on the NHS website, asking questions like do we have to have lovers we don’t love to fill that void or can friends suffice? Carys takes us through both the science behind why and how we fall in love, and also her own love life, revealing that our brain chemistry has a lot to answer for.
She intersperses the dialogue with unforgettable songs and a pretty good voice, ranging from rap to disco to heavy metal, and it’ll be a long time before I forget ‘Magic Taxi’ or ‘Tit Montage’, her ballad on a drunken lesbian threesome that probably didn’t actually happen.
There is also some audience participation about Tinder, and where we are all offered cocaine, only to discover that for logistical reasons it’s been replaced with chocolate instead. (Although it was very nice chocolate).
Lovecraft is a delightfully bawdy, funny and enlightening show that keeps you laughing throughout. The only thing I could find fault with is that the narrative is a bit all over the place at times, but that’s a minor detail.
Cerys hugged every member of the audience before the show started, and it was so much fun that after it ended, I really wanted to hug her back in gratitude!
I usually like my comedy in darker shades, but if you’re looking for an irreverent comedy that’s packed with positivity and threaded with catchy musical numbers, Lovecraft (not the sex shop in Cardiff) is the perfect night out.
It all hinges on the winning charisma of Carys Eleri – a woman who wins over the audience even before the first word of her show. Introducing everyone with a genuinely warm hug, not even a cynic could be against this show as they wait for it to start. Her spoken comedy is brassy and fizzy. While there are only a few standout jokes once you leave the theatre – never to look at A&E Glangwilly the same again – her general aura of energy and enthusiasm sticks with you.
It truly is ‘something for everyone’ comedy. Using hugs and chocolate, plus general affability, Carys had the audience in the palm of her hand the whole way through. Even better, her broad range of jokes from shitty exes to loneliness and online dating meant everyone could relate to something. My personal favorite came when she described her alternative and decent ex. How he stood out in Camarthen, which ‘breeds rugby players like rabbits.’ He was:
‘‘absolutely not a rugby player. He wore eyeliner!’‘
I’ll always relate to that one!
Her musical numbers show a panache for parody and wordplay. While a few in the first act seemed a bit repetitive, they find their feet as more genre variation comes in. Carys luckily also gets the chance to show off her genuinely fantastic voice as the numbers progress. ‘I Brain you,’ ‘Magic Taxi’ and ‘Rat Park’ get points for the perfect balance of witty and catchy. The animation that accompanied them was basic but effective and had a few moments of great visual humour – like the unicorn’s cigarette horn.
If you’re missing Crazy Ex-Girlfriend and wish that
Rachel Bloom would have swapped some Hollywood malarkey for Valleys realism,
this show is for you. There are a few humourless gripes to be had – the basic
science, the repetition of some musical numbers – but Carys Eleri pulls off her
one woman show with charisma and bellyaching comedy.
My one big gripe was with the central conceit. This was that the neuroscience of love can be replicated with friendship and community.
While it is in itself a positive message, and it’s humbling to know such an extroverted figure as Carys experienced loneliness, it is somewhat accidentally incomplete. In the valleys or anywhere poor and hard to get to, social isolation has been the catalyst for many a horrible relationship. While her takeaway is a great message for people with good friends to stop worrying about romance, many people only do because those friends can be so hard to find.
Still, even when your physical community is desolate or disappointing, millions find community through art. And a happy, slightly tipsy, and adoring community watched Lovecraft (not the sex shop in Cardiff) that night.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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