Category Archives: Theatre

Film & TV, Music, Musical, Theatre

Review The Bodyguard, Wales Millennium Centre by Rhys Payne

Leave a comment
All images credit Paul Coltas

out of 5 stars (4.5 / 5)

Before watching ‘The Bodyguard’, at Wales Millennium Centre, Cardiff I was very excited. The songs are many of my favourites and so I knew it would be an enjoyable performance, but this show did not disappoint. At first, I thought it would be similar to Motown in which the songs are great and popular, and people would sing along to, but the narrative is somewhat less important, but I could not have been more wrong. In fact, I would consider ‘The Bodyguard’ as one of the best all-round productions that I have seen. Having some of my ‘guilty pleasure’ songs included in this production was the icing on the cake.  The last time I saw Alexander Burke in a production was in ‘Sister Act,’ which I felt she didn’t suit but this powerful ballad-based character was a lot more suited to Alexander and her singing style.

The production’s opening was a striking shadow-projected scene, which had loud sound effects, which caused audible gasps from the audience. This was a fantastic way to grab audience attention in the first few minutes of the show. It was easy to spot that this scene would be book-ending the whole production and a similar scene would take place at the end of the show. This is the first time, in my experience, that this type of structure is used which made me keep the image in my head to see how the plot would lead to it again in the end. This meant the entire time I was thinking about this opening scene, which was not a distraction in any sense but would be considered an effective opening scene. The opening number however was flawless. The production values of staging, light and pyros was superb and the dancing was incredible. I don’t know if it was intentional, but I instantly drew comparisons of the character ‘Rachel Marron’ both are super successful artists, costumes show similarities to one another and the ‘performance’ of their songs (especially this one) were of the highest quality. However, I believe that this performance topped the Beyoncé performances I have seen live and this number could have easily been a show in itself. It would not have been out of place as a concert/performance in somewhere like the 02 Arena. The one small drawback to this number was, Alexander Burke, who played Rachel Marron, is an incredible singer and actor but her dancing is the weakest of the three (all of which are obviously of a high level but her dancing is not quite as good as the other two) which could be noticed through the big dance numbers such as this one and also during the opening number there was a short scene of dialogue which took place. Due to everything that was happening on the stage (lights, dancers, music etc.) I missed a lot of this dialogue which was clearly not what the directors would have wanted. The bold opening scene and awe-inspiring opening number contrasted each other perfectly and ‘set the scene’ for the rest of the production. This show alternates between these amazing, popular songs and tense dramatic scenes, which the opening sequences set up for the rest of the show beautifully.

Many of the supporting characters in this production were very relatable and believable which is important for productions like this. The young boy who plays Fetcher was an incredible dancer, which was shown in one of the dance rehearsals scenes towards the beginning of the musical. He was amazing and I would say upstaged some of the other dancers. They used the young boy to perform lifts and flips which obviously would have been easier due to the size of the actor. Although, during this scene the character crawled through a table which I believe did not quite fit the rest of the choreography, but this is a minor detail. This character would have primarily involved to provide an ‘awww’ factor as he is the young son of Rachel who gets caught up in the events of the stalker. This did build the sympathy toward Rachel and ‘hatred’ toward the stalker. The stalker (played by Phil Atkinson) was a key character although he is barely on the stage, even when he wasn’t on stage his presence could still be felt. When he was on stage when he is silent and is in almost darkness, which was an extremely effective way to build tension, and it is only in act two that he speaks. The whole presentation (including casting) of this character was perfect and this character-built fear from the audience. Although it was a bit strange that this character spent a lot the time without a top on.

One of the most enjoyable scenes in the whole show was a karaoke scene not because of dramatic staging, of phenomenal singing or whatever it was just a fun scene. It opened with three girls drunkenly singing ‘Where Do Broken Hearts Go’ it was really funny and I felt like I have seen the same scene in real life. A group of girls singing a popular song like that in karaoke while ‘butchering’ the song, but the difference was in this show these actresses were doing it intentionally. This seemed to be a common theme in this production. Later in this scene, Frank Farmer, the bodyguard (played by Benoit Marechal) goes onto karaoke to take on Whitney Houston’s ‘I Will Always Love You’ which I have personally been tempted to do but never have had the guts to due to the power of the song. However, Frank combated this by ‘talking’ the song, which had the whole audience rolling in laughter. Which was really nice to see the softer side of frank. This scene was ended by the iconic song ‘I Have Nothing’ which was beautifully sung by Alexander. Which was obviously sang to and about Frank as we found out they have an attraction between the two of them.

The final scene of this act was in a club. It revolved around Frank and Tony Scibeli, the security guard (played by Craig Berry) protecting Rachel from any potential threats in the club. In this scene the spotlight illuminates the stalker. This meant my eyes were following the stalker’s track around the stage, which only added to the tension and drama. IThis scene looked more like it took place in a nightclub due to the flashing lights and music rather than a normal club but apart from this the scene was well staged and executed.

The beginning of Act Two had a big dance number to the song ‘I’m Every Woman’, which is a song I know very well. The dancers in this scene were excellent and the acrobatics were a spectacle to watch. However, at certain points in the number there were movements that were supposed to be done at the same time and were actually out of time with one another. But I really enjoyed this opening, as its ‘over-the-top ness’ was a perfect way to regain the excitement after the intermission. There was a few people in the audience singing along with the music which I personally find great as it shows they are enjoying the song etc., but I know some people are against this, so this is worth noting.

In one scene the staging changed from a luxurious mansion to a log cabin. I really liked the concept of the staging as a log cabin suggest warmth and safety, which was exactly what it was supposed to do within the story. The contrasts between these two setting also helped shift the focus from Rachel and her fame/money etc. to family. This is added to be a heart-warming rendition of ‘Jesus Loves Me’ between Nicky Marron, Rachel and Fletcher. Fletcher however did struggle with this song as it is a complex rhythm and strange vocals but as he was a child this was somewhat ignored. The lights and effects were continued to be used to make the Stalker actually terrifying as he appears from nowhere at points and disappears quickly after.

Probably the biggest and best number in the entire production is the classic ‘I Will Always Love You.’ This song was kept right until the end to act as an emotional tribute to everything that happened throughout the narrative. As the earlier ‘rendition’ by Frank in karaoke, was comical this final number was show stopping. The staging, costume and lights worked perfectly to add to the emotional nature of the song and Alexander’s vocals were outstanding. She did change some of the vocal trills from the original, which were fantastic. During this song there was a montage projected onto the stage of the Rachel and Frank and their story so far. I found this to be somewhat distracting from the song and could have done without it, but the montage was not a cheesy and unnecessary  it was heartfelt and emotional. After all this happened the entire cast sung ‘I Wanna Dance with Somebody.’ This involved solos from different members of the cast, including the Stalker (which was a nice inclusion in my opinion), dance sequences and ‘party’ lighting. This was when the audience were encouraged to sing and dance. The two songs (I Will Always Love You and I Wanna Dance with Somebody) obviously contrasted each other and helped cement the pairing of drama and fun.

This production was well thought out and planned. Everything from music, lighting, costumes to props used all worked perfectly together, which was really nice to watch. The production aspects of the show were fantastic and one of the best I have seen. Alexander Burke’s portrayal of the iconic role is on par with Whitney’s (which is high praise) and this a show not to miss.

Dance, Music, Theatre

Review Pepperland at the Wales Millennium Centre by Lois Arcari

Leave a comment

Review of Pepperland at the Wales Millenium Centre by Lois Arcari

out of 5 stars (2.5 / 5)

I was unsure of what to expect when I sat down to watch Mark Morris’ Pepperland at the Wales Millenium Centre. It’s practically criminal not to know and love the Beatles in at least some tangential way, or not to have one go to song to draw out as your favourite. But I wasn’t watching with the nostalgia of many of the audience who had been there the first time, who could see themselves in the chorus of screaming fans in the opening scenes. I’m also generally unfamiliar with the dance genre and haven’t watched professional dance shows in years. But I thought that the show would be the perfect splash of colour to brighten up characteristically unpredictable Easter behaviour.

The opening scene sealed my unease, with Ethan Iverson’s inventive score somewhat undermined by unearned hints of darkness. The theremin was a particular point of contention for this show. Personally, I adore this unconventional instrument, especially in the rightfully iconic Ed Wood theme. However, It’s an instrument best used sparingly.

When placed artfully in pieces like the ‘Penny Lane’ dance, it was unexpected but refreshing. However, there were moments where it threatened to drown the score and the audience with it, through no fault of the talented performer. The show seemed to have that sort of tone problem throughout. While sombre notes in the orchestration sometimes clashed welcomely with the candy cane cheer of the costumes, more often than not they felt misplaced and unearnt in regards to the dancers, who were performing – wonderfully as always throughout the production – dances that didn’t meet the new tone to the music.

Again, when it worked it worked, but there were only brief flashes where it did. Some of the transitional dances were overly repetitive, but the technical prowess of the dancers can’t be faulted. Whatever the audience felt about the score or singing – and we’ll come to that later – the dancers had them all immediately onside, providing the audience with plenty of laughs alongside genuinely warm applause.

Despite their obvious prowess during the more cheerful numbers – especially my favorite of the set, ‘Penny Lane’, they were equally as impressive, if not more, when performing more tender and sombre scenes. The romantic dances especially were things of beauty. They represented a tender sixties fairytale where race, gender, sexuality and time meant nothing. Love and light were all, even when the lights dimmed and love faded. The show managed to give it’s very basic staging maximum impact. The ebbs and flows of lights and colour flexing to the music. Of particular note was the way that Iverson drew out the Beatles’ Indian influences to their most lavish conclusion.

The singer, however, was met with mixed reviews. Not doubting his vocal talents, he simply didn’t seem to fit the production. The dancers and their costumes indicated something more joyful which would take itself less seriously. The score was theatrical but often confused. Vocal talent and power alone can’t replicate charm, and the operatic style seemed like just another confusion added to the pile. The singer would have benefited from a show which approached its tone with more intent, or allowing himself some lapses in technical skill for raw emotion. In those brief moments where he did falter, his singing became much more powerful.

Perhaps the best way of summarising this show is ‘if you’re here for a beatles sing-along, that’s not going to happen.’ This mild, half unknowing derision of the audience suggests that this show has ambitions beyond its color palate, and has left fans outside of the review circuit – including my plus one – feeling rather cold, while it enjoys status as a critical darling. Still, the genuine love that emanates from the company’s every dance move – and the Beatles themselves as an evergreen subject matter – were enough to keep some lonely hearts more firmly on its side.

Theatre, Uncategorized

REVIEW: Five Green Bottles at Sherman Theatre by Gareth Ford-Elliott

Leave a comment

out of 5 stars (3 / 5)

Five Green Bottles by Joe Wiltshire-Smith debuted for the first time at the 2018 Cardiff Fringe Festival in the basement of Little Man Coffee Shop. After seeing it then, I remember saying, “this is the sort of work I’d expect at the Sherman.” And less than a year later, here we are.

It’s a strange experience watching this play for the second time. It relies so heavily on its audience not knowing the twists for its strengths, so for that reason I won’t be spoiling anything.

One thing that has changed is the ending, which is just as
frantic, but slightly clearer in a subtle way. This is the major improvement
along with the obvious production value that the Sherman’s excellent studio
space offers.

The direction from Becca Lidstone is particularly interesting as she adapts from a coffee shop basement with a small amount of tech to a world-class theatre space. The step-up in production value is obvious – but the content of what was initially presented isn’t lost.

It does seem darker and more sinister than before. I’m unsure
whether that is because I know what is coming and pick up on the small details
or if it’s an artistic choice, but it works.

One thing that is noticeable is the cutting-down of humour. The first time there were more laughs and that could be down to the intimate space of Little Man’s basement. However, it comes across much more mature as the humour is controlled perfectly by Lidstone and doesn’t dominate as much as before.

Becca does a great job of starting the play at face-value and
allowing the subtext do its work, bubbling under the surface to create a darker
tone.

The transitions are full of dance and music which contrasts nicely to the dark undertones and creates a feeling of the 60’s. At times, though, this feels a little out of place, particularly as the play progresses.

Aly Cruickshank’s performance is excellent. With a name like
his, and the accent he puts on, you would think he’s a Scottish native. His
performance really stands out as he presents himself as likeable but holds a manipulative
presence that makes him so hateable.

Angharad Berrow is also utterly brilliant. Her performance is
less sinister than Cruickshank’s and comes across really naturally. Berrow
handles her character with great detail and performs delicately with moments
presented as normal that are truly horrific in the context of the play.

Tobias Weatherburn’s performance is really understated, cold and transformative from the person he is off stage. In particular, the way he handles Dave’s insecurities and desperation for acceptance from other men is phenomenal.

Olivia Martin’s performance is interesting. Her character, Maureen, is snide and laid back. She mostly holds the same dynamic throughout, but the moment she switches is even more powerful for this.

The set from Ceci Calf is really nice and naturalistic, taking us into the 60’s with simplicity.

Garrin Clarke’s lighting design is great. The single light that shines through the window, as if it were the moon, is particularly lovely and the changing of colours is seamless, creating the perfect atmosphere for the moment.

The sound design from Nick Laws is also strong, the use of
music in the transitions set the scene and there seems to be a slight
distortion in said music as the play progresses which is subtly superb.

The script by Joe Wiltshire-Smith is meticulously plotted and
paced with great dialogue, moments of humour and a subtle, dark undertone.

None of the characters are supposed to be likeable, which is important and a good choice, but they do need redeeming or relatable qualities. Dave stands out and is instantly recognisable with clear insecurities which Aly Cruickshank’s character, ‘Neddy’, exploits. Dave’s shielding of himself provides a brilliant and bubbling conflict with ‘Neddy’.

Unfortunately, the same can’t be said for all of the
characters. This is where we come onto the main issues of the play. The
character of ‘Neddy’ and the purpose of the play.

Neddy’s process and mind are not explored enough, so whilst we see his manipulation of other characters mould slowly and sadistically, his actions by the end are not justified in his own twisted way. This leads to the ending falling somewhat flat and into the second issue.

Why has this piece been written? What does it offer its audience? What does it explore? It doesn’t offer clarity on the history, it doesn’t explore the issue nor the mindset of the characters and isn’t escapism. It’s not a character study and whilst it is well written, directed, acted and designed – after all is said and done there is no takeaway for the audience.

The conversations I had after the play ranged from talking
about the historical facts and questioning the purpose of the play. I’ve seen
technically worse plays that are much more ‘must-see’ because of what they
offer their audience.

Ultimately, this is an incredibly brave story that Joe Wiltshire-Smith has attempted to tackle for his first full-play. For Spilt Milk too. However, there just doesn’t seem to be a focus or point to the piece.

Some will disagree on this and say it doesn’t need a point or
to explore anything. But, that is what separates ‘good’ from ‘great’. A little
more focus and this could be an absolute stellar piece of theatre. As it is,
there’s just something missing.

Five Green Bottles is an enjoyable, brilliantly crafted piece of theatre only let down by a slight lack of purpose.

Five Green
Bottles at the Sherman Theatre, Cardiff
9th – 13th April 2019
Written by Joe Wiltshire-Smith
Co-writer: Kirsty Phillips
Directed by Becca Lidstone
Starring:
Angharad Berrow
Aly Cruickshank
Olivia Martin
Tobias Weatherburn
Assistant Director: Joe Wiltshire-Smith
Producer: Tobias Weatherburn
Stage Manager: Hadley Taylor
Production Design: Ceci Calf
Sound Designer: Nick Laws
Lighting Designer: Garrin Clarke
Set Assistant: Aleks Carlyon
Technical Assistant: Theodore Hung

Dance, Theatre

Review Awakening by National Dance Company Wales, Taliesin Arts Centre by Judi Hughes

Leave a comment

Taliesin Arts Centre has always felt welcoming to me. I particularly enjoyed collecting my tickets from the box office and having a smooch around the shop and gallery. Sadly the gallery is no longer there and a smart little box office has been established on the upper level. My ticket on this occasion, along with a very useful programme, is handed to me by a representative of the company and I am made very welcome.

Programmes are very important to me as I like to know a bit of background on the company and its creatives, and what I am about to encounter. The programme for Awakening is well written, with just enough information about everything I need to know. A summary of each piece and a brief description, with an extra word from the choreographer gives me just enough of an insight of what I am about to see without giving the game away. We are told that Awakening intends to ‘offer audiences diverse perspectives on the world’. The selection of 3 pieces shown tonight do that and more. It begins with Tundra, an entertaining and relatively accessible work, leads us into the very clever Afterimage and brings us finally to Reveller’s Mass, an unexpected and wild collage of religious iconography. A complimentary programme of work that does what an internationally acclaimed dance company should do – please, excite and challenge perceptions.

The audience is very mixed in age range, Taliesin Arts Centre and National Dance Company Wales have done well in their development of audiences for dance. I understand that Awakening has done well across its tour. Observing the marketing which includes stunning images and great trailers as well as the dedication to outreach work, I can see why it has been such a success. I expect that the company’s reputation and the quality of the work has meant that word of mouth, always the best form of advertising, has had a lot to do with it too.

The first performance of the
evening, Tundra, is an excellent start to the evening. We are presented with a
red square, with a dark and somewhat foreboding image of a tall dancer, making
its first statement. We enter then a stage lit by 2 strip lights, the width of
the stage, which whilst stark in appearance often alter in their brightness.
The company of 7 dancers appear like Russian dolls, with patterned tops and
long a-line skirts performing what I understand to be the traditional Beryozka
dance, which just looks amazing; the dancers are so clever at this illusion of
floating I wonder whether they are wearing Heelys to glide around the stage.
The soundscape and subtle lighting design play their part here and throughout
the piece; I feel as if I am looking into a time tunnel, a sort of digitally
remastered version of these folk dancers, chained together and stuck in a time
warp. Echoes of Russian folk music, throat singing and sounds of natural
elements help to give a feel of otherworldliness captured in time.

Divested of their skirts, the
dancers are now fully adorned in fabulously patterned body suits, reflecting
the gaiety of folk costumes and with more contemporary colours, particularly
the striking ice blue. With white socks they look at once like ice skaters and
then like gymnasts; their precise, linked movements, performed in almost
perfect unison, along with the lighting continue to make them appear Tron-like,
as if they are trapped together in a computer memory. This is the thing I like
best about contemporary dance, that it can be interpreted by the viewer in
whatever way we want. Whilst the programme gives minimal instructions, there is
plenty of room for my imagination to take me on that journey.

The choreography of Tundra is joyful, with so much to draw on, even including head bobbling, taking the reach of the Russian state into Asian territory. The soundscape continues throughout from thunderous crashes to the echoing sound of a child singing. The choreography relies on patterns and format; there are imperfections with a foot placed differently and a kick not quite in line, but I am tending towards intentional imperfection here, almost like a glitch in the system. The focus moves from marching upright to legs and feet, where once again the costumes come into play. I always marvel at dancers’ feet and these white sock clad movements continue the fascination. I am not surprised that this is such a popular piece.

Afterimage – the mirror that constantly reveals – is mesmerising in a totally different way. Initially I believe the set is 2 tables, 1 behind the other with 1 male sat at each. An illusion, as the whole work is an illusion set to confuse and play with our visual perception. A letter is delivered to the rear table using the method of Pepper’s Ghost, described in the programme as an effect originally used in carnival sideshows to conjure ‘ghosts’ in séances. The piece continues with reality and ghosts intertwined; 6 dancers, male and female, perform effortless movement and develop relationships that engage the viewer as their eyes adjust to see the dancer, the reflection and the ghost in a mirror that is so clear it feels like you could reach through it. It is strangely enticing to see the opposite view of the dancers as they move in and out of vision. The story of the piece is based around the letter, eventually opened and read, leaving the viewer with questions as to its content. Did she die? She looks like she died. Did she leave? It feels quite sad. Whatever the story, the effect of the female dancer walking away with one of the tables is a powerful ending to a piece that provides mysterious fascination to its end. Altogether a technically clever piece, although I fear that once viewed, the spectacle is gone.

Revellers’ Mass is everything it
promises to be. As featured in the programme we are presented with a long thin
table, its width almost covers the stage. This is the centre-piece, the table
of the last supper, which eventually reveals that it holds the water and the
wine as the dancers splash in it and perform on it. Candles placed along the
‘table’ are lit as church bells ring; an atmosphere of calm is created as
people mill around. Strange looking broken mannequins with arms or bits
missing, reminiscent of Da Vinci statues, complete the set. The costumes of
black lace dresses worn by male and female in almost androgynous fashion look
Italian or Spanish. A piano plays in the background, and then music – loud, dramatic,
vocal, operatic enters the fray and the dance begins. It is a bizarre display,
at times pious and at its most dramatic, irreligious. I don’t try to understand
at this point, just to observe and enjoy, because the audience is silent and
rapt in this feast of extraordinary choreography. It is as if we can see the
Sodom and Gomorrah of the world behind the religious iconography. Dutiful
gestures are mixed with what appear to be acts of disobedience; the
choreography is untamed and appears to reflect different cultures and beliefs.
The mannequins are brought into play, one carried around as if it symbolises a
religious statue. A scene of wildness is created, with a central figure
carrying a broken mannequin that pours gold onto the stage and is followed by
an almost crawling figure that hankers after it as it spills from its guts. A
false finish then, which on reflection feels intentional, as the movement
stops, the lights lower and the audience begins its applause, which lasts for
some time until we realise that there is more. The priest-like figure comes to
the front of the stage and stands staring, whilst to the sounds of Piaf’s ‘Je
ne Regret Rien’, the stage is cleared of its detritus by the rest of the cast. When
we are sure that this is the end, the audience applauds loudly, showing their
appreciation of this fantastic piece, which reflects the mess of the world in
which we live.

A fabulous evening of dance, beautifully crafted, carefully performed and very well received.

Awakening is currently on tour and can be see at Aberystwyth Arts Centre 24th April, Sherman Theatre 1 and 2 May and Theatre Severn 7 May.

Film & TV, Literature, Music, Musical, Theatre

Frankenstein: How To Make A Monster, Battersea Arts Centre by Tanica Psalmist

Leave a comment

The production Frankenstein: How to Make a Monster is triumphantly spectacular! featuring an abundance of sensory flows from different types of beatboxers’ who all ecstatically project an aura of an overwhelming system, which conveys power and pain. Compellingly taking our ears through motions as their voices effortlessly, vigorously exploit numerous of in-depth frequencies from low to high simultaneously. Several of the beatboxers fluidity hypnotised us through their radio waves, leaving memorisation as they mind-blowingly touched on elements affiliated with political, mental and emotional conflict.

The beatboxers collectively integrated upbeats. In beat we witnessed a fusion of music genres from their voices alone, whether it be House, Funk, Blues, Motown or Pop this crew had it down to the ‘T’. Their music chords impressively merged heavy deep drums, string instruments and much more.

https://youtu.be/2gr-dNO6M_0

Incorporating Mary Shelley’s original, which was reimagined with soundscapes, sonic trickery and songs. To the counts within their musical flow, their vocal chords went to the rhythms of 1,2,3,4 but automatically speeded up to their heartbeats chanting 2,4,6,8. This soon boomed to a higher frequency as they began harmonising, synchronising, fluctuating and exploiting various other musical genres. The energy in the space became immense, especially when the space effectively transitioned into the vibes of an electrifying gig. 

Frankenstein had six acts in this play, all playing to their individual strengths whether it be singers, rappers, poetic essences and of course beatboxers; Frankenstein had it all! This production visually moved brains, you could feel the creatives hearts race, pumping to the counts of 10, 20, 30, and 40. Their sounds enhanced colourful patterns of different worlds colliding; projecting cinematic sounds of life and power whilst they embraced an emotional energy, triggered by a world we all know so well, as we become witnesses to the power of monsters all around us, strengthened by voices empowering them. 

The light moods had sparkles, gloss and smoke, the colours resembled energy, fire and enjoyment. This factor helped increase vibrations of radio-waves as they got even deeper into how to make a monster. The artistic designs were radiating meaning you couldn’t help but glance with amazement! 

Overall, Frankenstein gives you high adrenaline. A breathtaking, unforgettable and exceptionally enjoyable production! A fantastic experience for all to see, featuring beat box battles, audience immersive orchestra and childrens participation! A must see meticulous show with a talented team, you will not be disappointed!

https://youtu.be/RvR2Ds7SzLo

Film & TV, Theatre

Review – Les Misérables, August 012 By Eva Marloes

Leave a comment
All images credit Eva Marloes

Please note images featured in this review are from the rehearsal process

This fun and moving adaptation of Victor Hugo’s Les Misérables by Cardiff-based theatre company August012 juxtaposes the battle of Waterloo and the Brexit Referendum. The intention behind the historical and literary parallel is to insert our daily lives into a wider perspective, to juggle the big and the small, the significant and insignificant, the past and the present. Les Mis, not the musical (thank God not the musical!), is a whirlpool of sound, words, and movement, expressing a sense of loss and futility, tempered by a feeling of compassion.

The scene begins with an account of the battle of Waterloo, cut by the recollections of Brits on holiday in Greece before the Referendum, and by the disbelief and shock at the result on the night. Away from formulaic narrative structure, Les Mis embraces a multilayered performance where music, words, and movement intersect and converge all around us. The music is spell-binding and plays a prominent role in guiding the audience into this tragi-comedy. It is a seductive and immersive experience that stirs the senses and brings awareness of the wider significance of Brexit.

The smell of grass, the thumping on the ground of the soldiers’ feet, broken by holiday-makers’ easy-going chatter and banter to the tune of Brazilian music in the sun-kissed beaches of Greece make the play at once seductive and moving. The charged atmosphere evoked by the battle is countered by the fun and ordinariness of the Referendum night. The parallel is sustained by local references to Cardiff’s roads and neighbourhoods. Napoleon is in Grangetown. Brussels is Ponty. Yet, the playfulness of Les Mis accentuates the brutality of Waterloo conveying a sense of awe, of something bigger than ourselves.

This heartfelt, engaging, ironic and exciting production articulates the current confusion, exhaustion, and ridiculousness of the aftermath of the Referendum. We don’t know what is going on. Les Mis has no comforting thesis, no tidy narrative, no solution, but a deliberate intention to throw off course.

At a time when over a million people have marched for a referendum on the deal, nearly six millions have signed a petition to revoke art.50, and when Parliament has rejected May’s deal and any other alternative, Les Mis captures the never-ending saga, the incomprehensible going around in circles, and the complexity of the present situation. Brexit has severe repercussions for peace in Northern Ireland, for EU citizens in Britain and British citizens in the EU, for Europe, and for Britain; yet its significance is drowned out in the daily drama deprived of substance. In all this, Les Mis wants its audience to wake up to the historical significance of our daily lives.

The play includes Nicola Sturgeon’s address to European nationals living in Scotland. In the endless noise produced by politicians on Brexit, European nationals in Britain are often forgotten and, at times, dismissed as ‘bargaining chips.’ Director Mathilde Lopez is a French-Spanish North African, who has lived and worked in Britain for 20 years and has a family with British composer/dj John Norton. Matteo Marfoglia, who choreographs the dancers, is an Italian national who has worked in the Netherlands and has been living in Wales for the past six years. For both Mathilde and Matteo the result of the Referendum brought the pain of exclusion. All of a sudden, their identity, status, and very presence in Britain were questioned.

Les Mis gives a voice to that sense of disorienting loss Europeans felt. There is no anger, no preaching, no pedantic history lecture. The political and philosophical rhetoric about the EU at the end is perhaps not as punchy and inspirational as it could have been, but it is genuine and moving. It gives voice to those in Britain who feel European and part of Europe and have been dismissed by mainstream media and politics not just for the past three years, but for decades. What is missing are perhaps the voices of  British politicians and thinkers who have dreamed of Europe, like John Stuart Mill, who joined Victor Hugo at the Congress of the League of Peace and Freedom in Geneva in 1867, where peace required a United States of Europe. I personally would have liked the inclusion of Hugos’ dream of a united Europe at the Peace Congress in Paris, in 1849.

‘A day will come when your arms will fall even from your hands! A day will come when war will seem as absurd and impossible between Paris and London, between Petersburg and Berlin, between Vienna and Turin, as it would be impossible and would seem absurd today between Rouen and Amiens, between Boston and Philadelphia. … A day will come when the only fields of battle will be markets opening up to trade and minds opening up to ideas. A day will come when the bullets and the bombs will be replaced by votes, by the universal suffrage of the peoples, by the venerable arbitration of a great sovereign senate’ 

Les Mis speaks of the hurt of those of us who feel deprived of Europe. Europe is no longer a dream, but a reality. There is an acceptance of defeat without despair, a search for strength in love, not distance. Les Mis appeals to faith, hope, and love. In opposition to the outside political message of exercising control and erecting borders, Les Mis, fruit of artists with diverse cultural backgrounds and political stances, celebrates friendship across divides. It calls on all of us to show compassion to one another.

What would Hugo make of this take on his work and, perhaps more crucially, what would he make of his own dream of a United States of Europe? He might be confused and excited to see that a Union of European countries has taken shape. He might feel inspired and hopeful that it is not just a philosophical, political, or religious idea, but a reality, clumsy and complex, but one that is increasingly in people’s hearts. This production of Les Mis, with its exuberant rhythms, poignant words, and passionate movements, lets us hear the heart of Europe beating.

Film & TV, Theatre

Review The Mirror Crack’d, New Theatre, Cardiff by Kevin Johnson

Leave a comment

⭐️⭐️⭐️⭐️

Walking into the theatre, I was greeted by the curtain up on a bare stage, with Miss Marple (Susie Blake) asleep in an armchair. My first hint that this was not the usual Agatha Christie production, with dark deeds in a charming English village. 

The quiet stillness of St Mary Mead is disturbed by the arrival of retired American film star Marina Gregg (Suzanna Hamilton) and her producer husband Jason Rudd (Joe Dixon), who have bought Grossington Hall from Miss Marple’s friend, Dolly Bantry (Julia Hills) to live in, and are also making a historical film there, which will be Marina’s comeback. At a reception to meet the villagers, local resident Heather Leigh (Katherine Manners) is murdered, poisoned after drinking Marina’s daquiri, who is now considered to be the intended target by Chief Inspector Craddock (Simon Shepherd) of Scotland Yard.   

Using the idea of a film that is viewed, rewound and then viewed from other ‘cameras’ (witnesses), the writer Rachel Wagstaff and director Melly Still, have created an intriguing production where the cast act out witness statements, first one way, then the other, twirling from A to B then back to A again, an incredibly difficult thing to do live. Lighting, sound and set design all help with this, and at first I found it a little distracting, but as it went on I changed my opinion, drawn in by the artistry on show.  I was completely won over when the murdered victims helped trace each other’s outlines – a staple of crime fiction – using pink sand.       

This is a rare thing, an old story given a new interpretation that really works. Wagstaff opens it up and develops the characters, such as Dolly Bantry lamenting her lonely widowhood, from the stereotypical to the human, exploring the racism, sexism and ageism of the time. At one point Craddock, infuriated by what he sees as her interference, yells at Marple “you’re not a detective, you’re a spinster!” which provoked a completely involved audience, privy to the sad secret of her fiancé being executed in WW1, to hiss and almost boo him. An incredible reaction outside of panto.

Susie Blake is brilliant as Marple, smart, determined and quietly lonely, while also demonstrating the comedy skill she’s famous for. Simon Shepherd is a prickly detective, still dealing with losing his mother as a child, while Joe Dixon brings a caring gruffness to the husband. For me the stand outs were Suzanne Hamilton’s fading film star, vascillating from fragile, fading movie star to demanding diva, and Julia Hills, whose snobbish former lady of the manor reveals her true feelings of uselessness and isolation, now that she’s no longer a wife or mother. The rest of the cast do well with what they have, but contribute mightily to what is an original and stunning ensemble piece.

This production runs at New Theatre, Cardiff until the 6th of April.

Theatre

Using Sibrwd to access Welsh Language Contemporary Drama

Leave a comment

Earlier this week I was invited by Theatr Genedlaethol Cymru to use Sibrwd (which translates as whisper) to see their new productions Merched Caerdydd (Cardiff Girls) by Catrin Dafydd and Nos Sadwrn o Hyd (Saturday Night Forever) by Roger Williams. This was the first time the company has used Sibrwd to offer full translation of a theatrical production. Sibrwd is a free app for mobile devices that gives theatre audiences the ability to fully appreciate a (Welsh language) performance in (potentially) any language. The app gives access to theatre productions for Welsh learners and non-Welsh speakers for Welsh language performances. Sibrwd can offer audio or text based instant translation of live theatrical productions.

I went to see the production at the beautiful Borough Theatre, Abergavenny. The app is free and very simple to use. Theatr Genedlaethol Cymru have produced this excellent video which goes through the process of how to download it onto your device and then how to use it in the theatre.

https://youtu.be/mc-LV1crMVc

On the night of the performance staff from Theatr Genedlaethol Cymru met Sibrwd users in the foyer prior to going into the theatre to check they were happy , additional smart phones can be provided by the company if required. I was informed by Chris who was operating Sibrwd that the translation would be text based for this particular performance, Sibrwd has the potential to offer audio or text.
Once in the theatre itself I checked I could pick up the Sibrwd Wi Fi signal and my phone was on aeroplane mode, this is very important to make sure no one can ring you during the performance!

Once the production begins the app automatically provides English Language text based translation. The user does need to be able to read fairly quickly as well as keeping an eye on what’s happening on stage but you quickly adjust to this. The app itself works flawlessly, I was surprised at my own knowledge of the Welsh language, I know more Welsh than I previously realised! For a learner like myself the frequent references to South Wales locations or the mixture of Welsh and English made the production vey accessible and relevant. Providing full English language translation for two contemporary productions of this nature are an excellent way to increase learning opportunities for people like me.

If full audio and text based translation can be offered through Sibrwd I think there would be a great deal of interest in Welsh Language productions from Blind or Deaf audiences.

Many thanks to Theatr Genedlaethol Cymru for supporting me to access more Welsh language contemporary drama, I will be sure to keep an eye out for more productions of this nature supported with Sibrwd.

Theatre, Uncategorized

REVIEW: BOTTOM at The other Room by Gareth Ford-Elliott

Leave a comment

out of 5 stars (5 / 5)

Bottom is an auto-biographical play about Willy Hudson, a queer man exploring the overriding questions of, what it is to be a “bottom” or a “top”, why does it matter and whether “bottom” in bed means bottom in life?

It’s a coming-of-age story, a queer story, a gay story, a story about insecurity in many forms, about relationships and ultimately, a classic love-story. But really, who needs labels when you’ve got substance? And Bottom has substance in bucket loads.

Willy takes us on his quest for love from the moment he came out to the morning after his first sober date. He’s awaiting a text from his date which triggers him to explore various aspects of his life and why this text, as opposed to the others, is so important.

Before this, Willy has been partying and sleeping around, as a bottom, for his entire sexual maturity, if he’s not been at home masturbating. This is the first time he’s felt a connection and the first time he’s not needed drugs or alcohol. But there are problems, the dinner he cooked was burned, he couldn’t ‘get it up’, he hid in his bathroom and they didn’t have sex.

As the play develops, in its non-linear pattern, we learn about Willy’s sexual history – but what we’re really doing is understanding his quest for love. Willy isn’t looking for sex, but that is what he’s been taught, so that is what he gets.

Willy Hudson immediately establishes a relationship with the audience from the moment he enters wearing only a towel, looking for his clothes which are hidden underneath our chairs.

Hudson’s performance is honest, he feels like himself, it barely comes across as acting. It feels as only Willy could have played this part. Hudson deals with his past emotions critically and delivers a brilliant performance, channeling his inner Sasha Fierce.

Hudson’s honesty and self-reflection leads into his writing too, which is carefully constructed into a brilliant non-linear plot. This allows Hudson to stay true to his story, whilst also telling a theatrically intriguing story. The writing is beautiful, honest, well-structured and funny. There’s no way you’d guess this is Hudson’s debut as a playwright.

Director, Rachel Lemon, admits this was a hard show to direct, in the post-show Q&A. Hard because it’s so truthful to Willy, there were times where the best artistic choice changed Willy’s story somewhat. But, Lemon does a good job of maintaining a strong piece of theatre whilst telling Willy’s truth.

It is chaotic at times, Willy jumping all over the place with his non-linear plot. That chaos however is representative of Willy’s life in the story, so it works brilliantly, and Lemon’s direction ensures this succeeds.

Tic Ashfield’s sound design compliments the play perfectly. I’m no Beyoncé fan (sorry Willy, I prefer Rihanna), but the music choices are brilliant and are exploited at the right times for emotional effect. The inclusion of Beyoncé isn’t a weird gimmick that Hudson throws in as a fan, which was the worry going in. It fits.

You’ll do well to see a more important and relevant play than Bottom in Wales this year. Hudson doesn’t fall into the trap of negativity that surrounds so much LGBTQ+ theatre and media generally. He spoke about the importance of positive LGBTQ+ stories and how it was important to him that this was positive, in the post-show Q&A.

Yet, Hudson doesn’t shy away from tough topics and critiquing aspects gay culture either. He also speaks about fears of backlash that he’s seen other shows get. But says that at the end of the day, “it’s just a story and it is my truth.”

Not only for the LGBTQ+ community though, Bottom should be celebrated by everyone. In a time when the government are forcing a debate about the education of LGBTQ+ relationships, this couldn’t be more relevant or important. You could do a lot worse than take your kids to see this production. It is a play I needed to see at fourteen or fifteen and is equally important now.

It’s an educational piece, but not supposed to be. It doesn’t aim to teach, it’s just a story. This fact is just a reflection of where we’re at as a society.

I have personally never related so much to a piece of theatre. Yet, I’m not LGBTQ+. Hudson tells a human story, where the protagonist happens to be queer. He doesn’t simplify it to labels, he explores the human behind the labels within LGBTQ+ and wider society. This is so powerful and something we need more of.

Bottom it is a heartfelt, honest, funny and thought-provoking exploration of gay relationships in modern Britain. Miss it at your own risk.

Bottom is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets can be found HERE.

BOTTOM at The Other Room, Cardiff
27th – 30th March 2019
Written, Performed and Produced by Willy Hudson
Directed and Produced by Rachel Lemon
Sound Design: Tic Ashfield
Movement Director: Jess Tucker Boyd
Lighting Design: Lucy Adams
Line Producer: Sofia Stephanou
Dramaturg: Bryony Kimmings
Graphic Design: Jimmy Ginn
Photographer: Joe Magowan
Videographer: Tristan Bell

Literature, Theatre

Review STORM.3 TOGETHER AND ALONE, National Theatre Wales by Harriet Hopkins

Leave a comment

out of 5 stars (2 / 5)

Created by Mike Brookes

When booking to see a National Theatre Wales production, there is an expectation for something thought provoking, intense and different.

The STORM cycle is a series of multimedia works that aims to explore the themes of truth and testimony, it includes original texts, specially created sounds and novel physical-acts TOGETHER AND ALONE succeeded in including specially created sounds – the composition was eery and worked to punctuate the piece. It also drew on Simone de Beauvoir’s Pour une moral de l’ambiguite, a work that explores the varying ethical attitudes of people and how they relate to the idea of “freedom”.

TOGETHER AND ALONE presents, through 8 different people, a different view of freedom and what their freedom means to them.

It is an interesting concept showcased against a high-impact backdrop; the cast and audience all stranded together on a stage that could be the prow of a ship, or the floor of a warehouse, or a holding area for refugees. Strewn around are clear plastic bin bags rammed and bursting forth with clothes, as if people have packed to leave, or have donated to charity, or have left somewhere in a hurry. Two large screens display statements that seem like negative rewrites of inspirational quotes.

The spectacle of this, when entering and waiting for the action to start, boded well. But the reality, when things “got going” was that there would be no action. As tremendous as each actor may have been, it was impossible to enjoy their hard work – the words delivered were a series of self-reflective testimonies and as much character as the actors tried to put in it was stripped away by the overwhelming monotony of it all. Perhaps this was the point – we live in a world where we talk about, think about, tweet/insta/facebook/snapchat about ourselves; we are so preoccupied with ourselves and how we see ourselves within the world, and how we think and want others to see us, that we do nothing of real importance. (I understand this is a generalisation, just to make everyone clear…in case you think ill of me, because that’s not something I want…now should I put a winky face emoji here to make it clear I’m making a joke? Hmmm…)

Whether this was the point or not, it simply felt tedious. I was working so hard to take in the words, but the movement and interaction that was there (and, be assured, the actors did as much as they could), just wasn’t enough to fill the gaps of character and story; the total absence of energy meant that I missed all the substance, the nuances, the political leanings, because I was too busy worrying about how long it would take for my knee to start hurting from all the standing, and thinking about how it could be made more dynamic and engaging. Convincing myself that my lack of engagement must be a mental fog which, surely, must indicate the early onset of the menopause!

The monologues/statements the characters were making were extremely well written, but the voices (no matter what accent they were in) still sounded the same. Yet as standalone tracks they could have been truly engaging; in podcast form, for example, the audience could listen and explore at their own pace, if they had something to watch too, or something to do (fold clothes and bag them, perhaps). I appreciate this is easier said than done though and, as usual, NTW has staged something different and risky – unfortunately, the biggest risk for me is how alienating a piece of theatre like this can be.

National Theatre Wales presented STORM.3 TOGETHER AND ALONE at The Neon in Newport from 21st-23rd March so you can’t go and see it now but, to be honest, if you’re anything like me you’d have spent more time thinking about whether there’d be time for a glass of wine at Le Pub than being moved by the work, anyway.