It may have been a rainy Monday night in 2018 Cardiff, but for everyone watching This Is Elvis at the New Theatre, it felt as though we had been transported back in time to watch the King shake, rattle and roll in the flesh. This new musical, presented by Bill Kenwright and Laurie Mansfield, adapts, and celebrates, Elvis’ 1968 comeback special and his 1970 Las Vegas show, and five decades later the songs remain indestructible, incredible, and utterly unforgettable.

The first thing we’re greeted with is a striking red screen onto which is emblazoned an image of the King himself; his features are only hinted at, half his face obscured in shadow, but he’s still strikingly recognisable. It’s so bold that when you close your eyes the face remains like a camera flash after-image, like a Rorschach test, like the holy face imprinted on Veronica’s veil. Instantly, the image and its lasting effect on the eyes wordlessly articulates Elvis’ legendary status; that we only get impressions of the man he was, shaped by our own perception, experience and memory.

Having been bombarded with that stunning visual, when the curtain lifts it’s not Elvis we see, but rather other people – his manager, his band mates – talking about him. The spectral presence of Elvis’ image lingers, so that when he does finally arrive on stage he hauls along with him the baggage of everyone’s individual and collective ideas of who Elvis was. But from the moment Steve Michaels swaggered onto the stage in that legendary black leather ensemble, he was Elvis Presley.

We’ve all of us probably risked a ‘thank you very much’ Elvis impression at some point in our lives. But Steve Michaels’ performance was not an evocation, or even an impersonation – it was a complete inhabiting of character from the first moment to the last. His every vocal intonation, every gesture, every step and every sound was Elvis – even his hair, from root to tip, was every bit the King’s! Each and every song was varied and vibrant, capturing the essence of Elvis like lightning in a bottle. It was so spot on it veered into the uncanny valley at times, as if this was some living hologram of the man himself, here to bring a little joy into the lives of us Cardiffians on that rainy night. From his first line – ‘if you’re looking for trouble, you came to the right place’ – to his last – ‘Goodnight everyone, I’ve been Tom Jones’ – Steve Michaels lived every second on stage like a man possessed, and when they announced at the end that Elvis had left the building, it felt as if we truly had lost the King all over again.

The first act portrays Elvis’ ’68 NBC comeback special, the emotional and professional aftermath of Elvis’ revived spirits and career, and his first (reluctant) foray into performing a Vegas show. Most tantalising of all, it humanises the King in a way I’d never seen before – who’d ever have though such an extraordinary man as Elvis Presley would feel anything as ordinary as nerves? Fear? Insecurity? Yet we get to see the legend shaking with anxiety at the thought of getting back on the stage after twelve years away from it. At the start, he seems as monumental as that striking image of him emblazoned on the red screen; but by the end of act 1, we realise that this was but one side of the man, magnified, writ large on history. Despite all the accoutrements of his iconic character, beneath it all he’s just a man; a gifted one, but one plagued with the same emotional turmoil that we mere mortals know only too well.

Though earnest and interesting, the first act felt a tad messy in parts, interspersing Elvis’ onstage performances with his offstage personal drama in a way which felt clumsy at times. But act 1 was rendered both necessary and fulfilling by the absolute beast of its second act, which solely, singularly recreates Elvis’ 1970 Vegas show (feat. the iconic white jumpsuit) from start to finish with nothing else in between. It roars along as both a riotous, self-contained concert experience, and as a personal and professional victory, a success of epic proportions that completes Elvis’ road to reviving his confidence and career.

The audience was responsive, raucous and often rowdy, dancing and singing and affectionately shouting out their love and appreciation for the tireless efforts of the performers. And who could blame us, with such iconic, incredible songs to soak up like ‘That’s All Right Mama’, ‘Viva Las Vegas’, ‘Suspicious Minds’ and ‘It’s Now or Never’ – to name but a very few. One of the highlights of act 1 wasn’t even an Elvis track but a stunning rendition of Simon and Garfunkel’s ‘Bridge Over Troubled Water’. ‘Love Me Tender’ was the only song which I felt fell a little flat, but it was sandwiched by such corkers as ‘All Shook Up’ and ‘Don’t Be Cruel’. As an avid, enthusiastic (if amateur) dancer myself, I was particularly enraptured by the more upbeat songs of the night, jiving away to the riotous tones of ‘Blue Suede Shoes’, ‘Hound Dog’ and ‘King Creole’. But even when they slowed it down for ballads like ‘In The Ghetto’,  ‘Always On My Mind’ and ‘Are You Lonesome Tonight’, everyone in that theatre was utterly transfixed. ‘Burning Love’ seemed to be a more fitting final song than ‘Jailhouse Rock’, and the crowd reacted to it as such; the latter is a classic, don’t get me wrong, it just felt unsuitable for the finale. Having said that, using it as the climactic piece makes for a moment of pure circularity where the Elvis at the end of his life calls back to the Elvis who was just starting out. Narratively, it makes sense; musically, less so.

I was amazed – and vicariously exhausted – to watch every performer maintain such high levels of energy and quality throughout what looked to be an exhilarating but exhausting set. You can’t beat live music, but I have to commend these performers in particular for being amongst the best I’ve had the privilege of seeing live. I want to shout out especially to Misha Malcolm, Melissa Brown-Taylor, Katrina May and Chevone Stewart who added stunningly beautiful harmonies throughout the show, and enhanced every song by adding a simultaneously contemporary and ethereal quality. Everyone was incredible, from the guitars to the drums, the brass section to the singers, but I have to shout out to two standouts in particular: Niall Kerrigan on the lead guitar, of whom Chuck Berry would have been proud; and Steve Geere, who performed the dual roles of conductor (not an unclear upbeat in sight) and keyboardist – he was shredding them keys something fierce.

Transcendent, resplendent, incandescent. Whether you love Elvis or have never heard of him, this show is a must-see.

Dirty Protest present a playful, dynamic and heartening journey from Pembroke Dock to Cardiff; from 1979 to 2014.

However, dirty their protest Lightspeed from Pembroke Dock is clear-cut and fast-paced.

All photographic credits Jorge Lizalde @studioCano1

Having the privilege of sitting in on rehearsals it became incredibly evident that the care and respect the cast held for one another – when moving set in rehearsals, common phrases overheard included ‘Lift with your knees!’ and ‘Watch you back!’ I assume that this kindness was integral as their process was so collaborative. The cast devised through play; following rules, such as they can only use a prop once and it cannot be used in the play as what it is in reality.

The theme of the intergenerational in the presentation of father/child relationships is key within Lightspeed. With Star Wars at the heart of the narrative and in the heart of Sam. The development of Sam’s passion, from 1979 in his childhood and his late night expedition to see the Millenium Falcon, to 2014 and his daughter, Lizzie’s wreckless expedition to the new Star Wars production company. Youthfulness play, drive and fearlessness is championed in this script partnered with a great empathy and love for fathers and their sacrificial nature.

Lightspeed From Pembroke Dock is not pro-creative industry/jobs, however, it is encouraging of the industry in Wales and its progression, as well as the self-fulfilment it offers its workers. A privilege of the arts that was certainly evident in the rehearsal room for Lightspeed as the group warm up with a exuberant and merciless round of an Eastenders themed game. Who doesn’t wish they could start their day at work screaming ‘Get out of my pub!’

Lightspeed From Pembroke Dock is an uplifting, loving and dynamic presentation of family, passion and creativity, and the creativity of the piece is infectious! I was so privileged to be able to watch such an incredibly talented, committed and caring creative team. Dirty Protest is a theatre company that everyone should be aware of!

Tour Dates:

Wed 4- Sat 7 April

Chapter, Cardiff

Tue 17 April

Soar Centre, Valleys Kids

Wed 18 April

Ffwrnes, Llanelli

Thu 19 April

Taliesin Arts Centre

Fri 21 April

Riverfront, Newport

Mon 23 April

Halliwell Theatre, Carmarthen

Tues 24 April

Pontardawe Arts Centre

Wed 25 April

Borough Theatre, Abergavenny

Thurs 26 April

Blackwood Miners Institute

Fri 27 April

Galeri, Caernarfon

Sat 28 May

Aberystwyth Arts Centre

Wed 2 May

Theatr Brycheiniog, Brecon

Fri 4 – Sat 5 May

Torch Theatre, Milford Haven

Fio Theatre company at the frontline, in the fight for diversity and equality in the Welsh arts industry, opened its doors to fifteen performers, playwrights and directors in February for a week of masterclasses delivered by some excellent industry professionals followed by a creation week, a Declaration to the arts in Wales.

The first workshop was led by Abdul Shayek and Shane Nickels giving us a warm welcome into the Fio family. Before this masterclass we were set tasks based on our chosen practice, we explored different text and styles. Creating conversations between the groups about what is theatre and who should it effect. The biggest question being “What is Diversity in Theatre?”

As the week progressed masterclasses were delivered by Eric Ngalle Charles, Lisa Zahra, Cathy Tyson and Ryan Romain. All these masterclasses were invaluable to me, each one gave me something that would improve my learning as a performer. For me as an actor, I personally really enjoyed Lisa’s workshop, helping me tackle Shakespeare, unlocking my emotions simply and giving me exercises to have under my belt to help me at auditions.

After this week of masterclasses it was time to get into groups and create! I was lucky enough to have a splendid group made up of, Connor Allan as our incredible writer, Othniel Smith as our Director. I was lucky enough to perform alongside Kama Roberts and Aly Cruickshank. Connor’s play was a pleasure to explore during this week, an honest and resonating piece of writing written incredibly well for the performers in the piece. Our group spent a week exploring this text to create a final piece. The extract was called ‘3 Lost Souls. ‘ The final sharing of this work was incredibly successful for our group.

The aim of Declaration was to give diverse professionals a platform to create, I cannot stress how important that is! As a working class performer just breaking into the industry projects like this are a lifesaver.

Our theatre industry in Wales is very hard to access for someone who doesn’t fit certain criteria. Actors not getting paid, writers not having a platform to share their work, and audiences being of consistently one class. I believe it is time to change so, I think that everyone should ask them self “What is Diversity in Theatre?” It needs thought!

Hannah Lad

This little black box of a room is unexpected in The Actors Centre, London, but lovely none the less.

Faced with a slanted bed, Tracey Emin-style mess around it and red wired lights above, it is a simple but provocative set.

Love Me Now sends us on the journey of one woman, her want for love, her mixed relationships and the general lifestyle of single, young people in Britain.

Without delving too personal, the narrative is full of situations, conversations, thoughts, feelings and actions that are not unusual for a 20-30 something these days. How anyone only meets through online apps; women being chastised to this day about their sexual prowess but men still looking like the true ‘stud’ for the same actions; the fear of sexual abuse; and the characters we all relate to.

Alistair Toovey plays the cool bad boy that every girl has fallen for – the one who somewhere deep down cares but realistically is too frightened themselves to really let down their guard. But full of masculinity, he sees Helena Wilson’s character as nothing but a sex object, when once they were friends despite his arguments against this.  Toovey is the right kind of stand-offish but with the right amount of charm that we still fall for him, like Wilson.

Wilson’s character is full of insecurities; the one guy (Toovey) who completely rocks her world turns her into something she no longer recognises and that leaves her unsure of what she is doing, what she wants and what she believes. A character played so well that any woman could project themselves into her spot.

Gianbruno Spena has a small but still vital role – playing the boy after Toovey’s character has left, he is nice enough, not as fun or interesting as the bad boy but also a complete opposite – believing women shouldn’t swear, very traditional and very… urgh. Spena plays a great part, still bringing this character to fruition but also, with Barnette’s writing, is able to still become ‘like all men’ and still think and see that same things in Wilson that Toovey did.

She is still an untouchable – not worth anything.

Barnette has done well to take all insecurities, situations and actions from today’s dating and sex scene and transformed it into one short play. She summarises how women and indeed how men feel, and highlights a culture where we define our personal worth on a romantic outcome.

Love Me Now is funny, meaningful and really in keeping with today’s society. If you have ever had a bad date, loved the bad boy/girl, or just didn’t feel good enough, you will relate to Barnette’s play.

Hannah Goslin