Having never seen a Hijinx theatre production before I was very excited to watch ‘Meet Fred’ in the Sherman Theatre. What I realise about Hinjinx as a company is that they know how to do theatre in its purest form with an important emphasis of inclusivity which is fantastic to watch. Meet Fred itself is a deeply layered piece of theatre which allows the audience to read into the story as much or as little as they want to.
The story follows Fred who through the story realises they are a puppet but what he wants is to be is a regular guy. In the story, he is threatened with the loss of his PLA (Puppet Living Allowance) and this causes his ‘life’ to spiral out of control. Because of this, the play includes some very mature scenes and very strong language making it not appropriate for a younger audience.
The clever thing about this play is that as Fred is aware he is a puppet he becomes aware of his puppeteers, the Director etc which means when they include references to the audience or when the actors attempt fourth wall break it makes logical sense which makes a much more enjoyable watch.
This play showcased the traditional Japanese form of puppetry called Bunkraku. I was constantly surprised at the skills of ventriloquism and how the puppeteers expressed emotion which is especially astonishing as the puppet is completely blank with no face. The talented puppeteers (Llyr Williams and Nick Haliwell and especially the voice of Fred, Bryn Fitch) were able to perfectly physicalise the puppets emotions and bring Fred truly to life. Puppetry is a very difficult skill especially if you are an actor as the traditional forms of expression are not applicable but the performers didn’t seem to struggle at all which is a testament to their skill and talent.
Hijinx is a theatre company that focus on inclusivity of theatre and this play demonstrated that perfectly. To start with there was a BSL interpreter on the stage throughout which is where other theatre company would stop but Hijinx went a lot further. One of the highlights in this show for me was Martin (played by Gareth John) who played the Stage Manager. As stated in the Directors notes, he has Down Syndrome, he was one of the funniest roles in this show and also tugged in the audience heartstrings during the more emotional parts of the show. He managed to manipulate the audience emotions perfectly which shows his life acting talent. It’s not just the people in the show that show how the story aims to improve inclusivity.
A very important message that many people might have missed is the importance of the puppeteers in the message of the play. The puppeteers help Fred live his life and it is an obvious reference to dependence many people with disabilities have on others. The inclusion of PLA (Puppetry Living Allowance) as obviously a play in words of DLA (Disability Living Allowance) which again only adds to the reference of disability and inclusion. Another nice touch was the inclusion of stage management as an on-stage role which brings this often unnoticed role into the spotlight is beneficial for those in the backstage crew (myself included.)
Overall this was an incredible piece of conceptual theatre that contained a strong sense of inclusivity. Feeling many different emotions throughout and showcased a relatively unknown art form. I would rate this show 5 out of 5 stars and cannot wait to see what Hijinx will produce in the future.
A triumphant return to Welsh theatre for Rhys Ifans as Ed Thomas’ semi-autobiographical play On Bear Ridge opens at the Sherman Theatre, Cardiff.
(4 / 5)
All images credit Mark Douet
National Theatre Wales’ collaboration with
Royal Court Artistic Director Vicky Featherstone and renowned Welsh writer Ed
Thomas (Hinterland) summoned a
well-earned standing ovation last night at the Sherman Theatre. Prompted by its
flawless cast and beautifully poetic script, the audience rose to its feet to
applaud this intriguing new play.
Set in the forgotten village of Bear Ridge, our characters John Daniel (Rhys Ifans) and Noni (Raki Ayola) own an unfrequented butcher shop where the food is scarce, the whiskey has run dry and a harsh snowdrift has barred them from the rest of civilisation. Joined only by their slaughter man (Sion Daniel Young), the pair dance to songs from long ago and tell stories unearthed from their fading memories. They are very much alone, until they are joined by a strange figure lost in the snow (Jason Hughes).
The play feels like a Beckettian meditation on the importance of our memories, how remembering our past and our heritage can offer up some comfort in a recklessly fast-paced world. As put by John Daniels, ‘If my memories go, how can I still be John Daniels?’ The same goes for the community of Bear Ridge that has been stripped from existence through some sort of catastrophic event, their memory of the once thriving community is the only comfort that keeps John Daniel and Noni alive.
Ed Thomas’ lyrical text reaches epic heights. He immerses
the audience in the play’s vivid imagery, all the while skilfully meandering
between gut-wrenching dialogue and quick-witted humour. Rhys Ifans as John
Daniel demonstrates impeccable comedic timing as he punctures through the heavier
parts of the play with wit and verve. Every word the characters speak are imbued
with a sense of importance and each line is delivered with care and tact by the
play’s brilliant cast.
Thomas and Featherstone join force in co-directing the play.
Their direction is slick and all aspects of the performance are visually
arresting. A mention must go to the impeccable lighting design by Elliot Griggs
(An Octoroon, Pomona, Fleabag) and set
design by Cai Dyfan (Violence and Son, Hinterland). The isolation of the
characters is made clear through a coming together of the lighting and set
design as Bear Ridge is made to feel like a desolate floating otherworld, plonked
in the middle of the Sherman Theatre for its audience to observe. What results
is a sense of admiration for the tenaciousness of our characters to keep going,
even through the most solitary of hardships.
On Bear Ridge plays at the Sherman Theatre from now until 5th October and the Royal Court from 24th October until the 23rd November.
In true Caryl Churchill style, we are introduced to fine
writing, which is of a naturalistic ilk yet verges on the unusual, hilarious and
subtle in all these attributes.
Seemingly with no other interlink that the same actors, each
play is different from one another, with a different concept, it Is a true
triumph and evidence of a brilliant playwright that she can make such
interesting plays, which last for not long at all.
Glass – Is the story about a girl made of glass, her
fragility both physically and emotionally. It is comical, heart-breaking and to
a degree, relatable about young love. While made of glass, we think that she is
the real person who needs care, but when she meets someone going through a lot
worse, it puts in real perspective our own lives and how there are always
someone going through worse. A simple staging, the 4 characters are suspended
high, in amongst darkness, precariously. And this is all it needs – simplicity and
for us to listen to the writing.
Kill – A story about Gods and Murders. Again, a simplistic
stage, our God is upon a suspended cloud, smoke emanating across the stage,
while the God acts very much unlike a God – smoking and calling out all
religious beliefs. He is funny and the writing draws upon our World and beliefs
with satire. Opposite to him is a little boy, who integrates the God’s storytelling
with comments, increasing in anger, and this all builds to a crescendo. Feeling
almost unfinished, but in this respect very well done. We end shocked, and
confused but in a good theatrical way.
Bluebeard’s Friends – Easily one of my favourite of the
four. Four friends of Bluebeard sit around, slowly getting drunk, as they talk
about Bluebeard and his indiscretions, his crimes and how they felt this was
hidden. In true Royal Court style, the stage is simplistic – a dinner party,
but soon hilarity ensues with the appearance of Bluebeard’s wives bloodied
dresses. It’s almost horror-comedy, and the juxtaposition between the normal
conversation, to the actual stories of Bluebeard and the appearance of the
dresses is something unusual and almost apocalyptic.
Imp – The longest of the four plays. Imp could have been a
play in itself. While a great production, it felt a little less impactful as
the others. Perhaps this was more theatrically than the writing but none the
less, an engaging piece. We meet two middle aged cousins who live together
after respective partners either die or divorce them. Their removed niece comes
to visit from Dublin, making a life for herself, while being entwined with another
guest of theirs who is down on his luck. This is seemingly standard play, with
comedy, and drawing upon mental and physical health. This is brought in subtly
but very well and relatable. The imp in the bottle however brings the unusual
which can be often found in Churchill’s plays. The idea of belief, of whether
believing in something enough makes it real, and we see them contemplate this –
becoming frightened if it is, scoffing if it isn’t, grieving when it may be lost.
And soon we begin to contemplate its reality. What if it is real? We engage so
much in how the actors play their feelings.
Glass.Kill.Bluebeard.Imp is a series of brilliant plays. It’s hard to really come away without inspiration and astonishment at Churchill’s writing and combination with The Royal Court – it is very much a match made in heaven.
One of the many British Kings of Comedy – I will be
attending the Autobiography release and talk by the one and only Sir Lenny
Henry at The Southbank Centre.
Notable for his Stand Up, Sketches, and his huge influence
in Comic Relief, we will be listening to him, interviewed by British Comedian,
Romesh Ranganathan talk about his life in his own words.
With Ranganathan also on stage, it looks to be a night of
complete hilarity!
If, like me, you don’t really know about Yootha Joyce, then
you are in for a treat.
Caroline Burns Cooke brings her whole story, from her birth
on Wandsworth common, through Yootha’s fantastic theatrical and sitcom career
(and all the personal stuff alongside) to her death and alcoholism at age 53.
You do not need to know Yootha to enjoy this intriguing, hilarious character,
with a hint of nostalgia and glamour.
Cooke performs as Yootha, and many other character’s through
this woman’s life, in what feels like one in take of air. She changes in
physical form, from Yootha to an agent, a past husband, all with hilarious
quips, foul language and the odd song. It is no argument that she shows what
real glamour this woman was.
Cooke is very good at engaging with us – this may be a one
woman show, but hell does she keep it this way. She flirts with the audience,
agrees with them, ad libs and jumps in between us. She may be storytelling, but
we are not just mere witnesses; we are part of the journey.
As engaging as she is, as I said, it does feel like one
in-take of breath. Yes, there are emotional parts, that slow down the scene, taking
you from laughing at a remark about grubby Clapham Grand, or ‘Crap-Ham Grand’ to
the realisation of age and time wasted. But the rest is very fast paced, and at
times you feel like you are playing catch up a little with where we are, who
Cooke is at that present time and what is going on.
Now, as someone with little knowledge of Yootha Joyce, it
could be that she in emulating her personality, and therefore this is very
clever. But someone who may not know, it felt a little rushed through, and
mostly I wanted Cooke to just take a breath in the room.
Testament of Yootha is a fun, engaging production and a great example of a one woman play – it just needed some time to settle in the room and therefore let us catch up with this woman’s dramatic tale.
Everyone loves a Greek Tragedy – the Ancient Greeks had an
amazing way of telling stories, way beyond their time, with comedies, tragedies
and so forth, elaborate and convoluted (in a good way!).
The Bacchae, by Euripides is nothing short of this. The
story follows Dionysus, who carries out punishment on his Aunt and his cousin,
after their continued disbelief in him being the son of Zeus. What entails is a
story of deceit, blood and gore, and heartbreak.
Esmond Road Productions have modernised this – Dionysus and
his cronies are dressed in neon festival-chic attire, reminiscent of 90’s
ravers, notably taking pills and enjoying all life has to offer. His cousin,
Pentheus, has taken a more middle class, and political approach, showing stubbornness
and false maturity. These contrasting
groups define the war zones and for whom each party is a part of. It is a clear
distinction in characters and makes this modern take very interesting.
However, the beginning gets off to a great start – a very
emotive Dionysus, who is engaging and with sultry tones to her voice, easy to
fall into her storytelling. But this party-rave-drug taking group lack a little
in this concept – a moment of them really raving to some techno, or a scene of
debauched fun would have solidified this and made their characters a little
less passing.
There is a brief lull midway, and at times feels as if this
is the part that has a little less work. It’s a shame for this lull, mostly
inhabited by normal conversation; it is understandable that this is part of the
story but perhaps another take on this would make it more engaging.
It is soon picked up at the end, when we see the tragedy
that Dionysus throws upon his cousin and her mother – there is genuine tears,
emotion and this is where we are thoroughly engaged – we feel for the
characters, we believe their pain and this moment to stop and take this in, pacing
the speech and actions, creates a very emotive and thoughtful ending.
The Bacchae is a great idea with its modernisation, featuring some great talent starting the piece and following up at the end, but lacks somewhat in the middle. With this part worked on, this piece could be very engaging all the way through.
I am going to start off, right off the bat, that it pains me
to write a sub-par review of something from The Royal Court. Usually, I cannot
come away from RC without being astounded, inspired and creatively shocked.
Unfortunately, this just did not happen this time.
Total Immediate Collective […] features the story of a
family, when faced with tragedy, separated, with the Father and Daughter
embarking on a cult-esque ideal about the world, and the Mother fighting back
for her Daughter. There is an essence of many likely groups across the World,
from terrorist groups to religious or cultural groups who create imaginative worlds
and predict the end, in one way or another. Therefore, it is not a strange tale
to believe.
We are asked to sit in a purpose-built circle, with a book
to follow the story. The book itself is full of impactful images and text; the
images tend to be accompanied by a sound scape, bringing it to life and making
it feel recognisable. However, while an interesting concept, the idea of
reading along felt school-like, and for me, provided plenty of distractions
from the play; from reading, to looking at other audience members, to waiting
for the performers to (intentionally) find their place – a lot of pausing, a
lot of waiting, a lot of missed action.
This did not exactly take to a good start of introducing us
to the book – as part of this cult-ideal, we are told with the word “okay” when
we are allowed to read – the Mother at the beginning explains this, however
with the natural urge to move on, the performers gave a strange and imposing
approach to anyone who defied this – leaving a audience member to sarcastically
comment ‘What? Are we in school?” to which the response, maybe not so much in
character, was an equally sarcastic “No, you’re in the theatre”. This made us
all feel quite uneasy, for both the performer and as audience members, and
perhaps tainted the next hour.
The performers themselves are wonderful and obviously very talented,
but rather than an impactful piece of theatre, I felt as if we were in a first
stage workshop.
I really wanted to like Total Immediate Collective[…]; an unusual concept, interesting writing, well performed; but all these elements just did not gel into a Royal Court standard piece.
What would you do, what CAN you do when you can only hear
your surroundings but lack the power to help?
Coma by Darkfield, one of their many shipping container
immersive experiences, engulfs us in an idea of medically induced coma states,
while other frightening and disturbing things happen around us, completely out
of our control.
Darkfield are very good at creating experiences that mainly
function on the power of persuasion, listening to a narrative and following our
own imagination. But equally, what happens in our heads, can be just as disturbing.
In a clinical yet odd style ‘hostel’, we are asked to lie
down on 3 tier bunkbeds, encouraged to make ourselves comfortable and to take a
little pill – though this is our choice, as we are told taking it or not taking
it makes little difference either way.
Plunged into darkness, with our headphones on, we are
influenced by commentary, by sounds that sound very near us and at times further
way, adding to our imagination of what we already know the room looks like.
Like all of Darkfield, there are moments of fear, of climaxes, but to tell you
these only destroys what you experience.
My only problem with Coma, is more dependent on the audience
member. To really throw yourself into this piece, to feel in a ‘coma’ you need
to really engage in a meditative state and give yourself fully to the relaxation
in your body to get the full extent of what they are trying to achieve.
Unfortunately, for me, while used to meditation, it just didn’t come easily for
me this one night and perhaps lead to me missing out on being more immersive
that I would be another day.
Coma is equally intriguing, exciting, and scary – go on, be brave, and engage in something you have never experienced before – but fully commit, to come away with something fantastic!
As someone who is scared of flying and therefore takes
sleeping pills to get through, this is probably not the best production to see.
Rightfully nervous, with knowledge of Darkfield, experiencing ‘Séance’ at the beginning of the year, my flight fear has gotten better after travelling, but the nerves are still there for this next experience.
I particularly liked how the Steward was very much into the
process of Flight – before entering the container, his language was all
reminiscent of a host on a flight, stating ‘We are a full flight today so please
sit in your allocated seating’
Like any flight, the inside is highly reminiscent of modern
planes, but with a hint of the past – small flip down screens above, which are
little know these days, playing a video of a hostess, which seems dated. From
the beginning, with out headphones on, things are already going wrong – the video
flickers, saying chopped and changed, and frightening phrases – we hear the
pilot and his conversation we should not hear.
Into the darkness, we hear through our headphones, cleverly
positioned to give the sense of encroaching hostess up the aisle. We give into our
imagination, and this unordinary flight feels calming, yet we anticipate what
happens.
As any Darkfield show, there are moments of shock, of fear,
elements of the set change, even now, with me thinking whether I dreamed seeing
that or not. They play on our minds; the experience feeling like a dream state,
when something disastrous happens, everything becomes normal again – did that
really happen?
If you have a fear of flying like me, you are in safe hands with Darkfield, and will come away having such a unique and unordinary experience. If you don’t, well… needless to say you will have equally an interesting and unusual immersive experience. These containers are for all.
Hi Katherine, great to meet you,
can you give our readers some background information on yourself please?
I’m a writer that works mainly in theatre and I’ve done a bit of film and TV and radio.
I love words and people and questioning things so I think being a writer is probably where I always would have ended up. I’m not from a theatre/arts background at all, I left school before A levels like all my friends. I was more or less always working from leaving school. Me and my friend worked for her Dad on the markets and street trading for a while and I was a waitress for different places. I did a stint on the breakfast shift in the Angel Hotel, Cardiff and also a few years in the Masonic hall for the Masons. When I didn’t have work I signed on and I was put on a YTS scheme that was for kids that had left school like me without qualifications. I happened to be sent to the Sherman Theatre , Cardiff and it changed everything for me.
The exterior of the Sherman Theatre, Cardiff in the 1980’s
I was in the finance and admin dept but loved being around the shows. Phil Clark who was Artistic Director at that time (Phil is the Director of a play I wrote ‘Peggy’s Song’ by National Theatre Wales which is about to go on tour) encouraged us all to go and see whatever was on. It was the late eighties, the time of Willy Russell and John Godber, perfect plays for someone like me who never went to theatre. I just loved it!
I worked at the Sherman for six years, I was always hanging around the production office and started volunteering to do stuff on the shows. So I chaperoned a bit and shadowed stage management and helped out on the Sherman Youth Theatre that sort of thing. When I was twenty-four I applied to Welsh College to do the Stage Management course, I didn’t have any qualifications so I really was surprised when I got on. I stage managed for a bit and then when I had kids I started writing. I had a very tough few years personally in my twenties and early thirties and it really changed the way I looked at life. I decided not to waste any more time, I wanted to be a writer and so that’s what I did.
I’ve never done any kind of
writing course but I think just being around performance for all of those years
gave me a sense of how to write for theatre. I believe that anyone can write a
play, that’s what I love about script writing, I wish more people from
backgrounds like mine would give it a go, it’s been a real joy for me to be
able to do something that I love.
This chat is specifically
about music and the role it has played in your personal and
professional life. Firstly to start off what are you currently listening
to?
At the moment I’m listening to James Brown and Aretha Franklin. I have to choose some songs for Peggy’s Song All the music used in Peggy’s Song is by artists who have died. Ghosts that stay with us.
When I write I more often than not have music attached to the play, which the director may or may not choose to use. Before it Rains was The Super Furry Animals, Bird was Curtis Mayfield, Thick as Thieves was Nina Simone and Lose Yourself was The Commodores. Sometimes when the show has finished it takes a while before you can go back to those songs because you are transported back to the play.
Before It Rains, Bird, Thick as Thieves, Lose Yourself.
Peggy’s Song has lots of music in it because the main character Danny played by Christian Patterson is a hospital DJ.
Christian Patterson in the role of Danny, Peggy’s Song by National Theatre Wales
We are interviewing a
range of people about their own musical inspiration, can you list 5
records/albums which have a personal resonance to you and why?
Five is
so difficult but I think it’s going to come down to memories for me.
Songs in the Key of Life – Stevie Wonder
It’s a masterpiece. Everything about it, the production, the lyrics, the groove, the voice.
I could have chosen a few of his
albums because his work from the early seventies is genius, he’s up there with
the Beatles for me but this is the
album.
I don’t talk a lot about losing my sons but an interesting thing happened and this album leads me to that. In the period around and a few years after they died I really wasn’t able to listen to a lot of music. I think probably because you’re too raw and music gets into you. You put a hard shell around you, I think so you’re able to function and music was too manipulating. This was one of the only albums I listened to during that time. I remember playing it in the car a lot when my daughter was little, driving her around to different clubs and singing ‘Knocks Me off my Feet’ to her. It always makes me think of the kids being little and precious times with them and Guy. It’s a sunny day, windows open, album. Love and happiness.
https://youtu.be/RbSZeijqLTc
2. Saturday Night Fever – The Motion Picture Soundtrack
Just because it takes me back to my childhood. Family parties, Christmases’, Discos, A Benidorm holiday in 1979, my Dad, my Uncle, my sister, my cousins. We’re a family that likes to have a good time. You could rent us for a disco or a wedding to fill your dance floor to this album.
I love Disco. Donna Summer, Earth Wind and Fire, Chic, Chaka Khan, Odyssey. I have most of our disco albums from the seventies that I still play. I also love the Bee Gees but ‘If I Can’t Have You’, Yvonne Elliman is the song for me from this album, her voice is so full of full of heartbreak and drama.
3. Setting Sons – The Jam
The Jam and Paul Weller could have taken three of the five albums for me. I love Dig the New Breed, Sound Effects and Wild Wood but I keep coming back to Setting Sons.
I used ‘Thick as Thieves’ as a title for a play; it’s one of my favourite songs. Paul Weller is a master lyricist. We really felt he was speaking for us as teenagers. I think there’s a wave of working class kids who are now in their forties and fifties that hold Paul Weller in the highest regard, it’s like a club we all belong to. This album takes me back to my early teens, there was a mini mod revival. All the boys were wearing stay press trousers and Harringtons and Fred Perrys and Y cardies. Our youth club did a Thursday night disco and it was all The Jam or The Specials, The Selector or The Beat. Me and my friends Cath, Sheenagh and Lisa would go to the Northern Soul disco in the Transport Club in Grangetown on a Saturday. My love for Motown and Soul comes from that time and it’s the music I still listen to the most.
4. I Never Loved a Man the Way I Love You – Aretha Franklin
I mean. If I wanted to lose myself this is where I’d go. Perfection. ‘Do Right Woman, Do Right Man’ is the song for me from this one. Such a sassy song. She’s not asking him to do right by her, she’s telling him. I love it.
5. An Eighties Hits Compilation
I can’t decide the final one so I’m going for an eighties compilation record that has New Order, Depeche Mode, Human League, Yazoo, The Police, Wham, Michael Jackson, Prince, David Bowie, The Style Council, George Michael, Paul Young, Frankie Goes to Hollywood, Madonna, Bananarama, Scritti Polliti, The Cure, Aztec Camera, Tears for Fears, Spandau Ballet, REM, Luther Vandross, Curiosity Killed the Cat, Cyndi Lauper, Crowded House, Talking Heads, Tracey Chapman, Anita Baker and many, many more.
I wanted an eighties album. It was going to be Prince, Purple Rain or George Michael, Faith but then there’s Human League Dare and and and – so I’ve gone for a compilation. A big one with loads of songs on. Full of memories.
https://youtu.be/9LX9urfbp-A
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?
It has to be ‘Knocks Me Off My Feet’ Stevie Wonder. My kids and Guy are Love and happiness for me and that’s also what this song is.
Many thanks for your time
Tickets for the tour of Peggy’s Song produced by National Theatre Wales are available to book below.
Riverfront Newport – 25 September, 7.45pm BOOK NOW
Pontardawe Arts Centre – 26 September, 7.30pm & 27 September, 1pm & 7.30pm BOOK NOW
Theatr Brycheiniog, Brecon – 1 October, 7.30pm BOOK NOW
Grand Pavilion, Porthcawl – 2 October, 7.30pm BOOK NOW
Theatr Hafren, Newtown – 3 October, 7.45pm BOOK NOW
Taliesin Arts Centre, Swansea – 4 October, 7.30pm BOOK NOW
Theatr Richard Burton, Royal Welsh College of Music & Drama, Cardiff – 5 October, 7.30pm BOOK NOW
Borough Theatre, Abergavenny – 7 October, 7.30pm BOOK NOW
Blackwood Miners Institute – 8 October, 7.30pm BOOK NOW
Torch Theatre, Milford Haven – 9 October, 7.30pm BOOK NOW
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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