Category Archives: Theatre

Top Tunes with Jonny Cotsen


Hi Jonny Great to meet you. Can you tell us about yourself?
Hello. Great to meet you too! I call myself a Consultant, Theatre Maker and Facilitator in the Arts. I like to make interesting things happen. I work with theatre/arts organisations and venues to develop their work to be more accessible to deaf audiences /members which gives me a lot of satisfaction.

As well as giving talks on access and running inclusive workshops, I am a facilitator. I work with people of all ages with different abilities,  exploring ways drama can be inclusive, accessible and more importantly … fun!

I am also a performer and I am just about to tour my solo show, ‘Louder is Not Always Clearer’, starting at Chapter Arts Centre in February and then on to other venues across Wales. The show is being produced and directed by the brilliant ‘Mr and Mrs Clark’.
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?
I am currently listening to ‘Royalties Overdue’ which is a compilation of songs from the record label Mo Wax. It’s a double sided compilation with various artists that have been assigned to the Mo Wax label founded by James Lavelle.

The album was released around 1994 when I was at Art School and I heard one of the artists DJ Krush collaborating with a jazz artist, Ronnie Jordan’ at a gig and I was blown away so I had to buy it. It was released around the time when Hip Hop was really starting to evolve into mainstream music; artists such as Massive Attack, Portishead, Morcheba etc were influential to the Mo Wax label. Although its been nearly 25 years since it was released, I still love listening to this album!

I am deaf and I’ve always struggled with music especially understanding lyrics but I think it’s the deep and slow beats that makes this album more accessible to me. It’s just the way I hear music. The last year or so, I sort of lost my way listening to music and even stopped attending gigs. This was partly because I am now more involved with theatre which is more accessible to me as I can watch interpreted or captioned performances. However, very recently I bought new hearing aids which are not only super-powerful but I can play music from my phone to my hearing aids via bluetooth. So I have the added advantage of not wearing headphones (which are such a pain when you are a hearing aid user!) but also the clarity of the songs is so much better through the hearing aids. It will never be perfect, nor can I listen to music like a hearing person but it is definitely making a difference!! Thanks to my new hearing aids, I have started to enjoy listening to music again. ‘Royalties Overdue’ was the first album I wanted to listen to with my new hearing aids and I have been stuck listening to it ever since! I just can’t stop listening to it!
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?
This is a difficult one as it changes every week! Here we go…
Duran Duran – Rio. This was the first album I ever bought. The lyrics were always printed on the back of the vinyl or in the in-lay sleeves which was brilliant as I was able to follow and learn the lyrics to all the songs quite clearly. This album has been my favourite of all the Duran Duran albums. I still enjoy singing ‘Save A Prayer’ tunelessly around the house much to the annoyance to my neighbours!

Red Hot Chilli Peppers – Under The Bridge. When I was at my lowest, this song reminds me how much I have achieved since then. I was in a dark place and this song was playing on the radio and I needed do something about it and I did. I saw RHCP live in Cardiff and I had a very emotional connection with the song when they played it.

Matisyahu – Live At Stubbs. I went with a friend to see this American guy who was a Rabbi with a huge beard and dressed in black. This Rabbi can sing and he was good!! Incredible voice and possibly the best gig that I have ever seen. People have compared him to Damian Marley and I think that is a huge compliment. Matisyahu can rap, sing and beat-box. I love listening to this album whenever I have a dead-end moment and it gives me a buzz. Matisyahu doesn’t have a beard anymore, or wear the black clothes but I still like him!

Beastie Boys – Check Your Head For the obvious reasons Beastie Boys are so much fun to listen to. My older cousin always used to play Beastie Boys stuff when I visited him. I never really got ‘rap’ as there was no way I could follow or understand the lyrics but this album uses a lot of instrumental stuff in the songs. Yes, I’ll admit I did steal the VW badge off a car and tried to wear it just to be as cool as the Beastie Boys.

James Taylor Quartet – Do Your Own Thing During my university days I listened to a lot of jazz, acid jazz, trip-hop and hip hop but JTQ were my favourite. They are a British four-piece jazz funk band, who were renowned for their live performances. Their live sets focus on accessible rhythm driven music which I have always enjoyed listening to. I think they set the standard for the coolest sounds in funky acid jazz and amongst all their brilliant albums, ’Do Your Own Thing’ is my favourite of all them.

Thanks Jonny, 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?

I am going to use my deaf card and pretend I did not hear the question as I am going to chose this song – Happy 70th Birthday Bob Marley – Could You Be Loved [Acapella Version 2015] #MARLEY70. The song consists of different individuals doing an acapella/beat-box version of ‘Could You Be Loved’. All vocal and no instruments. When my partner was pregnant with our daughter throughout the pregnancy we played this song to her belly. We played it a lot and we never got tired of it. A friend told us about it and we are forever grateful. We still play it every now and then; not sure if our daughter remembers it from in utero but wouldn’t be cool if she did.

Jonny and his family

Thanks for your time Jonny

Review Rhondda Road, Episode Four by Ann Davies


It was a dull dismal December day as people enter the Lounge of the Park and Dare Theatre in Treorchy, they are met with the anticipation of Christmas as members of Avant Cymru begin to assemble ready for their presentation of Episode 4 of Rhondda’s very own soap opera “Rhondda Road”. Band members, dressed in Christmas jumpers, practise their chords. The time is ripe as like an apple, the drama begins to peel.

“The Fourth Wall Café” is open; Liam who lives in the flat above the café is helping to arrange the tables. Megan, co-owner of the café, walks in bringing with her an overnight bag; she queries where her partner Alex is. Liam can only answer coyly that Alex is planning something
“Something that you won’t believe”, he notices the bag and asks Megan if she is going somewhere. Megan explains that she is going to stay with a friend for a few days, she gasps as she discovers betting slips behind the café bar believing them to belong to Alex with his own secrets.
“Oh yeah, they’re mine!”
“Nice try, Liam” Megan acknowledges his comment as Abbie the niece of Ieuan enters the café.
Megan enquires whether Ieuan is coming to the evening’s party
“He says he’s not coming” Abbie answers as Liam interjects that Alex has stated that he is bringing Ieuan.
Izzy sees her Mother’s overnight bag and shouts “You can’t go!” Izzy is annoyed
“I’ll have nothing to do, come on Abbie” Izzy leads Abbie to another part of the building.
“Are you leaving?” Charlotte, Megan’s half-sister asks “Can I go with you?”
Megan can only answer that as Charlotte does not get on with the friend she is going to stay with, that Charlotte should stay with their Mother.
“Stay with Mam, there’s nothing wrong with her partner, Marla – except for turning Mam gay”, Megan changes the subject “Where did you get to last night?” Charlotte explains that she saw Ioan at her mother’s home; Ioan had asked her about Sion (who, we had learnt in a previous episode, is the father of both Megan and Ioan).
“I’m not frightened of Sion or whatever he calls himself” Jess, their Mother, states as she enters the café, noticing that Megan is packing, and with a concerned tone asks
“You can’t run away from things … Is it Alex?” Jess is worried for her daughter; Megan can only reply that they are fine, they just need to talk. Jess wishes to talk with Charlotte as she believes she has an eating problem that she is skin and bones
“Have you ever seen her eating here?” Jess cries as Megan answers negatively.
“Years ago Marla had an eating disorder and nearly died. It’s really serious; you’re her big sister, talk to her” Jess challenges her younger daughter to tell them the truth.
“Where is he?” Sion’s accusing tone breaks the conversation.
“Where is MY son?, Ioan hasn’t been home or at school” he continues as Charlotte repeats that Ioan is not there, Sion is adamant, as with vehement intent, he moves towards his daughter.
JOHN, you take your hands off MY daughter, keep away ….”
“You’re making a scene!” Sion admonishes her
“You come near my family again, and I will kill you!” Jess warns as Sion states that he hasn’t laid a hand on Megan.
“I’m not scared of you, Sion or whatever you call yourself now. Do you know why Ioan came to me? He was scared of you, scared that you were going to hit him ……”
“That’s NOT what happened …. “ Sion pleads his innocence
“A leopard never changes his spots Johnny, he knows everything about you; our marriage, what you did. I didn’t tell him a single word; I just gave him my diaries to read ….”
“I burnt them!”
“The diaries were not the only notes I kept. Staying inside, hiding my face – everything was in them – EVERYTHING” Jess emphasises “ and your son has now read every single word, so Ioan knows about how I once loved you, how your own daughter loved you …”
“I’m not that person now”
You hit her, you hurt her. Do you remember our Anniversary, John? You know how it ended.
We ended up in hospital; battered the pair of us. Listen to me now, you hurt or hit any of my family or even your own son, I WILL kill you” the couple exchange a conversation in loud startling tones.
“That was another time, I have changed I haven’t touched a drop of alcohol for 20 years. You’ve got it all wrong”
“That’s it, blame the drink. You’re a control freak!”
Sion continues to argue his case, “I’ve come back, I’ve bought this place. I have offered it to Megan. I wanted to make a better life for Izzy and you. Tell her Megan” Sion implores
“I will NEVER take it from him” Megan admonishes him.
“Hey” Alex enters only stopping to adjust his Father Christmas costume that would look better on a Sumo wrestler. “You’re not going to have to give us anything. I am going to buy it off you” Alex motions to Sion. “Today I’ve been to my first Meeting with Gamblers Anonymous” Alex announces to everyone; only the sarcastic prolonged clapping from Sion is heard.
“Well done Alex, that’s the first step, but you’re penniless ….”
Alex explains that something else has happened, an unexpected windfall, he wants to make a future for them all as he holds both Megan and Izzy close to him. The money is not enough to buy the building but it is sufficient to secure a mortgage, they can get married.
“We don’t want your gift, all we want to do is secure our future – as long as you are happy” Alex offers an olive branch to Sion who remains silent; realising that the battle is lost, Sion shakes hands with Alex.
“WHERE IS HE?” Ieuan storms into the café with intent, he wears a similar costume to Alex, there are hints of muffled laughter from the café occupants as the two men, now much larger than in real life face each other, their puffed out costumes making them look as though they should be nesting rather than about to wrestle.
“Calm yourself” is all Alex can offer as Ieuan shouts “I HATE YOU, You trekkie”
“I am honestly so sorry ….” Alex begins as in a ruffle of spitting words Ieuan tries to explain that years ago a relative of Alex got shares in the merchandise of a film making company, models were given to Alex but he never played with … the film was “Star Wars” and the merchandise is rare
Alex presents Ieuan with a gift, and attempts to embrace his friend but their ample costumes are barring them from doing so.
“Storm trooper? I’ve got them!” is all Ieuan can find to say, as they exchange a friendship pact known only by them, in a fashion that looks like two peacocks mating.
Part time Waitress and Carer Seren enters the café with her Mother, Cerys
“I want to thank you for helping me get that job” Ieuan states to Cerys who looks a little perplexed “You were Titania.”
Charlotte faces Seren, they have been good friends in the past she now realises that things have to change “You like Ioan don’t you? Right, I’m going to give you a chance, he’s a nice boy. Ask him to the party”
Ioan and Seren meet and awkwardly exchange comments; Seren takes a deep breath and asks him to join her in the seasonal celebrations. Coyly, Ioan answers and Seren seals a kiss on his cheek as they shyly move on.
Liam with his arms around Eleri enters the café, closely followed by Eleri’s daughter Hannah.
“When did THAT happen?” Ieuan is incredulous as he asks Alex “I thought I was in with a chance”
Liam hands a gift to Ieuan as he apologises for all that has happened between them
“I just want to thank you; you helped me when I had nowhere else to go” their friendship is restored.
The two Father Christmases face the audience and both announce
“It’s Christmas, we’re going to have a party. Let’s party” and we are all invited to the celebrations
As the group Hey Deity led by Sam Rees, who plays Liam, begins with their debut “Galaxies” followed by the assembled artists following a Congo like pathway through the café to the Christmas sounds of “Rockin’Robin”
The party is interrupted by the appearance of Dan from whom – in a previous episode, Alex had taken money loans to pay for his then, secret gambling addiction.
“We’re having a private party …” Alex attempts to explain as the man in the (almost) Christmas wrapping style suit looks around at the assembled people, his eyes are stunned by what he sees
“MEGAN!” he exclaims
Megan, captured like a moth in his intense glare, can only react on impulse, grasping her daughter tightly.
This is how Episode 4 of Rhondda’s very own soap opera “Rhondda Road” ended.
Appreciation was given to all the organisations that have supported Avant Cymru during their production of “Rhondda Road” in 2017 at the Park and Dare Theatre, Treorchy. Acknowledgement was given to the people who had suggested ideas from which themes had been taken for each episode. It was daring, direct and different, remaining true to present day issues wherever you may live. It was a reawakening, a genesis of performance that everyone could relate to. Real life is raw.
Secrets and emotions were laid bare, and we were there to witness such unravelling of souls.
Radio Treorchy and Radio Wales were present to record the dialogue and music of this episode; interview the Director of “Rhondda Road” Shane Anderson and Rachel Pedley, Artistic Director of Avant Cymru plus members of the audience who had enjoyed the accomplished performance.

We look forward to following the path of “Rhondda Road” in 2018.
 

Review The Chimes by Sebastian Calver


The Chimes, an adaptation by David Willis and Conor Linehan
 Having walked along the Southbank, mulled wine in hand, I had no idea about how I was about to be changed by an extremely powerful piece of political theatre but more importantly relevant political theatre! Upon entering St John’s Church, Waterloo, expecting to see a congregational theatre set up, I was immediately captivated or captured by the world in which I had been invited. A simple yet focussed performance space was encouraged in the traverse with subtle hints reminding us of the Dickensian time period of the narrative. However, director Judith Roberts’ vision did more than visually encompass us in what we were about to experience. Through the use of integrated recordings of various political speeches we were subconsciously being alienated by the waffle in which we were hearing; barely audible over the power of the organ making the point that a lot of these times they aren’t even worth hearing!
Dickens’ second Christmas Story, after the infamous Christmas Carol, took a somewhat subtler route to reminding us of the dangers of neglect at Christmas. The supernatural element of the unknown still occurred in the form of teaching the protagonist; Trotty, sincerely played be Matthew Jure, a well-deserved lesson in valuing family and friends and appreciating time. The first act, with creative use of ensemble and simple, yet effective, mise en scène, took us on a powerful journey into the impoverished life of Trotty and his daughter Meg as they struggle to survive the harsh reality of London in 1844. We quickly arrive at the rising action as Trotty is caught eating Tripe, which is being rationed to women and children only, despite it being a gift from his daughter Meg – Alderman Cute, a rich gentleman, and his cult, threateningly warn Trotty and menacingly show interest in his daughter who he holds most dear; too dear to let her marry her honest, hard working courter, Richard.
Through this powerful first act, Trotty is constantly drawn towards the bells which were made for the production by Nigel Shepard from recycled aluminium scaffold poles which really resonated with me in that it makes a clear point to commercialised theatres and productions within the UK that you don’t need to spend millions in order to create a captivating story which can still create a spectacle and change an audience! The week before I took my foster brother to see a Christmas Pantomime at a local theatre and was astounded by the money that had gone into making the show entertaining and at the end when asked for donations I couldn’t help but think: if this production had never been created and all the money for resources had been donated straight to charity, yes there would have been no entertainment for children which ironically coincides with the point for this production (teaching us of the necessity for sharing Christmas) but it also would have made a massive impact in changing many lives as opposed to the huge salaries of the actors and reluctant donations of the public as they realise they still haven’t paid for parking.
Despite this production being a partnership with the homeless charity The Passage, the standard of acting was so high that there were very few moments where I wasn’t flawlessly following the story and those times were not due to the actions of the ensemble from The Passage! This was especially clear in the ensemble numbers – the connection to the text and through line of the action was incredibly clear by the likes of John Watts, Joy Aaron, Allissa Christie, Hanna Kaley, Pixie Maddison and Yvonne Wickham, who all played various characters in aiding the narrative, however it was the sincerity by which they shared this powerful story with us which made me feel changed when I left the theatre and made me think about the injustice of the way we often perceive someone who is homeless. Disregarding simple human values and giving the hard shoulder whether it be because we think they got what they deserved or because we think they are cheating us of our charity. More often this is not the case and we are blinded by our thoughts when we should be treating all people homeless or not with the same respect!
Further information on the production can be found at the link.

My 2017 Cultural Highlights


Get that Chance has interviewed a range of creatives from/or based in Wales in 2017. We caught up with some of them again recently to ask them for their own cultural highlight of 2017. If you click on the links below it will take you to an interview with each contributor.
Sami Thorpe,  co-founder Elbow Room Theatre Company 
Being a part of Hijinx’s Unity Festival is a real buzz! Lots of international inclusive and accessible work taking over one public place is truly exciting.

Rachel Pedley Miller, founding director of Avant Cymru
As an audience member I still remember event  Killology at Sherman Theatre when Sion Young gestured at the end of Act 1. I nearly didn’t return for Act II, the power behind the movement still stays with me today.  Very powerful acting and directing.
On tour with Killer Cells, I sat opposite a woman at the end of one of the performances, her friend held her shoulders and we talked for an hour about her experience of loss and of having found out she too had a high level of UNK Killer Cells. The opportunity to share and come together with another individual who had experienced loss in the same way as you had, was empowering for us both – theatre making us feel less isolated in society.
Working with Ann Davies, who has been a community champion for years, who is now having her work (at the age of 65) performed  for the first time in the public domain. After years of being isolated as carer and after suffering at the hands of a dodgy home start building scheme, seeing her confidence grow and her feeling more confident, has been a happy result of collaboration.

Bethany Seddon, theatre designer
Well I’ve been on maternity leave most of the year so haven’t seen anything unfortunately but I’ve absolutely loved returning to work with such a wonderfully supportive creative team on Flossy and Boo, The Alternativity. I haven’t laughed so much during meetings or felt so at ease discussing concepts and ideas!

Gareth Coles  /  Voluntary Arts Wales Director  /  Cyfarwyddwr Celfyddydau Gwirfoddol Cymru

My cultural highlight of 2017 was an exhibition in the National Museum of Wales, Cardiff, which I returned to many times. Displayed in a darkened room, Nature’s Song: Chinese Bird and Flower Painting, was a breathtaking collection of beautiful ink paintings. As an artist myself, with a regrettable tendency to overwork my drawings and get lost in details, I learned so much about the expressive and economical use of a single brush stroke: representing shimmering leaves and blades of grass, and evoking whole landscapes.
 I would have to go for the National Theatre’s productions of Angels in America. Firstly what a dream to see such an iconic piece of theatre in such a wonderful space. Secondly, the imagery Tony Kushner writes is spellbinding and how they staggering, breathtakingly captured these images was extraordinarily. How can you not like a piece of theatre which has this line written in it?  ‘I don’t understand why I am not dead? When your heart breaks, you should die’.
Patrick Jones, Poet and playwright 
Comedy Mark Thomas
TV Motherland. People Just Do Nothing
Poetry Pascale Petit Mama Amazonica
Music Godspeed You Black Emperor Luciferian Towers
BooK The Poetry Pharmacy by William Sieghart
Theatre Touch by Vicky Jones (Soho Theatre)
 

Emily Wilden, actor, writer and creator of Sunday Night Stories 
I’d like to mention the work of the Cardiff Fringe for continually producing accessible and exciting pieces of theatre for all.
Also Omidaze theatres production/school workshops of Romeo & Juliet, bringing Shakespeare and politics into schools and making it fun and understandable for children of all ages.
 
My cultural highlight was seeing Dirty Protests Sugar Baby at Summerhall Edinburgh. It was brilliant to experience a story so deeply rooted in Cardiff with people from all over the world.
Poetic and profane, the Jean Michel Basqiuat retrospective at The Barbican stood out. Not only were we given insight into the man and the 80’s New York art scene, the paintings had room to speak for themselves.
My professional cultural highlight (for work that I was involved in) was Disgo Distaw Owain Glyndwr Silent Disco by Light Ladd & Emberton – an entertaining and meaningful production which engaged hundreds of people, and has since been nominated for a tourism business innovation award.
My personal cultural highlight was reading His Bloody Project by Graeme Macrae Burnet with CardiffRead – an absorbing and detailed book about a historical murder that built to an intense climax, through twists and turns, and at the end, left the reader as the judge… It was nominated for and should have won the Booker prize!
To choose one personal cultural highlight when despite all else culture has delivered so many uplifting and joyous moments in my life is invidious but (and apologies to Celtic Connections Glasgow, Shrewsbury Folk Festival, Who’s Afraid of Virginia Woolf, Eliza Carthy & The Wayward Band, Girl from the North Country, Rhiannon Giddens, Black RATs’ One Man Two Guv’nors and Nye & Jennie) my singular choice has to be Theatr na nÓg’s “Eye of the Storm” at Taliesin Arts Centre Swansea last month.  Inspirational, realistic, provocative and all delivered by a superbly talented cast bouncing off a superb script from Geinor Styles and a wonderful soundtrack penned by Amy Wadge.  I maybe now the proud chair of that company but this would have made it anyway on merit!
My cultural highlight for 2017 was Alice Birch’s Anatomy of a Suicide which played at London’s Royal Court – breathtaking in the way it dealt with a tricky subject matter with such heart and rigour as well as being formally inventive as three timelines play out simultaneously I both enjoyed the production at the time and have returned to it in my mind since. I hope that in 2018 I will write something half as good – the memory of it spurs me on.
My cultural highlight of 2017 was Tai Bach Panto in Port Talbot. This year was Cinderella’s Golden Ball which marked the pantos 50th anniversary. Written, produced, directed and performed by a cast of mainly steelworkers (who work their socks off for the love of it!) It brings the town together for a good old knees up. Debaucherous, anarchic and definitely not for kids – I laughed so hard my face hurt!
Alex Griffin-Griffiths in Dirty Protest’s Sugar Baby by Alan Harris. Sion Daniel Young in Killology directed by Rachel O’Riordan and written by Gary Owen at the Sherman. Lastly Seanmhair by Hywel John directed by Kate Wasserberg at The Other Room.

 
Kelly Jones,  writer and theatre maker
My cultural/personal highlights of 2017 were 1) Seeing Anatomy of a Suicide at the Royal Court 2) Being invited onto the Emerging Writers Programme at The Bush and 3) Securing funding from Arts Council Wales to research the need for a Queer Arts Collective in Wales.

My cultural highlight of 2017 is A Regular Little Houdini by Flying Bridge Theatre. I saw it at Chapter in late January and it’s stayed with me all year. Resourceful and heartwarming.
My cultural highlight of 2017 has to be an extraordinary weekend spent in Hwacheon, South Korea, in September, where I was lucky enough to watch Welsh, Korean, Japanese and Indian artists collaborate with each other and the local community, as part of our Artists’ Playground residency. Seeing all these great artistic minds swapping ideas, trying new approaches, finding common ground and different perspectives – often despite real language barriers – was awe-inspiring.
For me – Reasons to be Cheerful from Graeae – uplifting and deeply unashamedly political.  Slava’s Snow Show – always stunning – always magical! And finishing on a high with  the wonderful Likely Story’s The Giant Who Has No Heart in His Body.  Oh and I also enjoyed Flossy and Boo’s Alternativity… great to see some strong female led work and wonderful to see so much clowning!
 Joe Fletcher, Lighting Designer and scenographer
I would have a special mention for Sugar Baby written by Alan Harris and produced by Dirty Protest at Edinburgh. Also the screening of Macbeth in cinemas by Theatr Genedlaethol Cymru and the screening of PARADE by National Dance Company Wales on BBC4 all rather rather special!
Gavin Porter Film Maker and Clore Fellow
My Welsh highlight was RATS, written and directed by Kyle Legall, a theatre production and  director that isn’t afraid to break conventions. My national highlight was Barber Shop Chronicles at the National Theatre, an intelligent, energetic and beautifully written show.
Matthew Bulgo Actor and Playwright
My cultural highlight for 2017 was PALMYRA at Summerhall during the Edinburgh Fringe. In turn both hilarious and arresting, witty and profound.

The Get the Chance team choose their Cultural Highlights of 2017


We asked our team to choose their three cultural highlights of the year, along with a favourite event and/or organisation. Enjoy reading their individual responses below.
Young Critic,  Gareth Williams
Junkyard: A New Musical (Theatr Clwyd, Mold) Real, raw, inventive, inspiring; provoking and entertaining social commentary; one of the most original pieces of theatre I think I’ve come across this year, with an exceptional cast, script, and set design.
Alice in Wonderland (Storyhouse, Chester)
A truly charming and inventive take on this well-known tale; a talented cast who brought the characters of Lewis Carroll’s beloved children’s classic to life in vivid detail; perfect family viewing; the standout show of Storyhouse’s opening season.
Broken (BBC Drama Series)
Sean Bean was excellent as the passionate yet broken priest trying to make a difference in a Northern working-class community; as always from writer Jimmy McGovern, a piece which dealt with contemporary social issues in an engaging, challenging and no-nonsense way; a beautiful portrait of contemporary Christian faith.
The opening of Storyhouse in Chester
A wonderful addition to the North Wales/North West England arts scene. A stunning building with a beautiful theatre, modern cinema, integrated library, and plenty of communal spaces. An arts space that is truly for the community, that is already making a positive impact on the city and its people through various projects, shows and initiatives.
Community Critic Kevin Johnson
Hamlet. Andrew Scott gave what I can only described as an Irish Hamlet, sad, bittersweet and quietly morose. He sees the humour through the madness and the sorrow, yet his heartbreak was always just behind his eyes. Like some romantic hero of legend, dark and brooding, he used this masterfully to make us care for the Dane all the more.
The setting was modern, innovative and intriguing. The play began with coverage of the funeral straight from a Danish cable news channel. The play within the play took centre stage, the cast sitting in the front row among us, their faces thrown by video onto screens around the auditorium. A clever use of old and new. They wore tuxedos as if at the opera, and were covered by cameras as such.
In other modern twists Polonius had dementia, Rosencranz and Guilderstern were a couple, and both Hamlet and his mother spoke with Irish accents, unlike Claudius. A superb and thoughtful production that gave me new insight into the play.
My second choice is Angels In America, the first London revival since the original in 1992. With Andrew Garfield taking the lead of Prior Walter, this was a huge play, both in ambition, talent and scope. Performed in two parts, it’s just over eight hours in total, but amazingly the time went by so fast.
Garfield won the Evening Standard Award for Best Actor but Nathan Lane is equally as good as the venal Roy Cohn, hurling racist insults from his sick bed at his nurse, and threatening his doctors with lawsuits, it was still hard not to be moved as he fought for his life using every dirty trick in the book.
Although I thought it slightly bloated, and perhaps too self-indulgent in places, the sheer audacity of the play steamrollers over such quibbles. This was a tour de force if ever there was one.
My third production is The Cherry Orchard, a homegrown reworking of Chekhov set in Pembroke in 1982. It made me so proud to see such a great play from a Welsh company, easily the equal of anything I’ve seen in the West End.
I’ve been a fan of writer Gary Owen since seeing Iphigenia In Splott, and Killology, also Sherman Theatre productions, and this was the ‘cherry’ on the cake, pun intended! The whole cast contributed to making it truly memorable, with Mathew Bulgo in particular creating a nuanced performance that defied good or bad and was just human.
Unsurprisingly then, my favourite company and venue of the year was the Sherman Theatre. As a theatregoer, I’ve been welcomed by every member of staff, it’s foyer is roomy and full of comfy chairs and sofas, and they continually produce work of the highest order, on both the small theatre and the large. Outstanding.
My cultural highlight of the year is a little unusual, given so many wonderful choices, but I’ve chosen Slava’s Snow Show. Premiering in 1992, it has toured all over the world, usually at Christmas. I’ve missed seeing it so many times, so when it played the Millennium Centre I was determined to catch it. And catch it I did.
Simply put, I was enchanted. When I tell you that I don’t like clowns, and that the entire cast are dressed as sad, world-weary clowns, you can see what an achievement this was!
There was no dialogue as such, no plot, and I can’t even begin to describe what went on, yet it evoked such joy and wonder in me that I remembered what it was like to be a child again. Suitable for ages 3-90, I’ve never seen anything that unites all the generations this way.
Created by Slava Polunin, a Russian clown and mime, its won several awards around the world, including the Drama Desk Award for Unique Theatrical Experience. I think that sums it up nicely.
Young Critic,  Sebastian Calver
Oslo,  National Theatre
The Grinning Man, Bristol Old Vic
Heinsberg, The Uncertainty Principle
3rd Act Critic, Helen Joy
This is difficult as this year, I was very selective and so was privileged to experience some truly brilliant performances. With one exception. My top top event, was the Hot Tub extravaganza and in part because of my involvement and also because it was so outside my ken. Talking about our engagement with the arts here in Wales and as inconvenient wimmin of a certain age, was most refreshing!
Shadow Aspect, Ballet Cymru. Casting light into dark places.
Le Vin Herbe. WNO Perfect. Simply perfect.
My venue of 2017 would have to be Blackwood Miners Institute. Welcoming, warm, good facilities, parking and a very personable attitude.
My Company of 2017 is Black Rat Productions. For making us laugh. Never underestimate the power of a well produced comedy. One Man Two Guvnors. Good hearty stuff!
Community Critic, Steph Back
You’ve Got Dragons, Taking Flight.
Slava’s Snow Show
Fear, Mr and Mrs Clark.
Young Critic, James Briggs
La Cage Aux Folles, New Theatre Cardiff. Such an emotive and fun musical in which the story is still very prominent today.
Anton and Erin Swing Time– A much needed touch of class from years gone by. Celebrating the best of dance and ballroom.
A Judgement in Stone– A classic murder mystery that left the audience on the edge of their seats. An amateur sleuths idea of heaven.
My Cultural event of 2017. Celebrating the New Year in London watching Cinderella the Pantomime at the London Palladium and watching the fireworks from along the river bank.
My company of 2017 is  Cinderella at the London Palladium. A stellar cast that really did bring everything to the pantomime. With names including Paul O’Grady, Julian Clary, Lee Mead and many more it was ‘the’ theatre experience of 2017.
3rd Act Critic,  Ann Davies 
Swarm, Fio Productions
Rhondda Road, Avant Cymru and RCT Theatres
Art in the Attic
I would like to highlight the work of Rachel Pedley and Avant Cymru during 2017.
A venue of great importance to me during 2017 has been The Factory, Jenkin Street, Porth RCT.
Community Critic,  Hannah Goslin
Running Wild, Theatre Royal Plymouth
The production took a book from the well known writer Michael Morpurgo (of War Horse fame) and just like War Horse, transformed the stage with great creativity to take us to different places, and make us believe that the animals were real on stage with intricate puppetry.
Flossy and Boo: The Alternativity, The Other Room, Cardiff
This show brings a different taste to the usual Christmas shows full of kids entertainment and religious entail. Flossy and Boo create and exciting, fun and fully adult show to get you in the Christmas spirit but laugh at it satirically. Full of unusual concepts, music and lots of comedy, The Alternativity really gets you in the mood for Christmas.
Fourteen Days, BalletBoyz, Exeter Northcott
An arrangement of dance pieces, all with different concepts, BalletBoyz manage to astound yet again with their seamless movement, great acting and wonderful stamina. Balletboyz seem to only get better and better.
My Company of 2017 must be BalletBoyz. They are  just incredible!
3rd Act Critic, Roger Barrington
The Wind in the Willows, Sherman Theatre. Great fun, highly creative with a very talented production team.
The Cherry Orchard, Sherman Theatre.
Little Wolf, Lucid.
The best exhibition I have seen this year is : Swaps – David Hurn – An outstanding and important exhibition at the National Museum Wales .
Young Critic,  Sian Thomas
Cardiff Fringe Theatre Festival, particularly the event in mid July (but all the events were stunning) where I read some of my own work. I met great people and had a wonderful time and it has definitely shaped my year. I’ve become more confident with sharing my own work and have enjoyed events later into the night too, which isn’t something I did enjoy before this festival.
Layton’s Mystery Journey. Even though I didn’t enjoy the game I think playing it and experiencing a franchise I’ve loved in the past in the present was important for me. It made me realise that things don’t always survive my rosé-tinted glasses of nostalgia, and upon taking them off I’ve grown a little as a person. I know my interests much better, I know what upsets me in media much better, and I know my inner circle of friends much better, based on how we all reacted. Sometime positive can come from something initially negative, and I’m glad something has.
Iain Thomas’ “300 Things I Hope”, something I read very early on in the year and something that has been the brightest spot of almost literal sunshine on my bookshelf ever since! It’s a book I’ve traded with friends so we can see which ones stick out to us, it’s a book that spurred me on in my own below-the-radar poetry endeavours, the book that hundreds of sticky notes stick out off, and it’s the book that I like to pull down every so often and flip to a page and remember exactly why I love it.
My company of 2017 would again be Cardiff Fringe. Discovered it this summer and have been attending the monthly fringe cafes in The Gate ever since! It’s been a great time and one I hope to carry on attending. I look forward to see where it goes in 2018!
My personal cultural highlight would probably be the day I finished the first draft of my book – August 12th, 2017! I’m making progress on my goals! I’m on a second draft right now, and could not be more thankful for this year. I’ve had a really great one!
Community Critic,  Gemma Treharne Foose
Swarm, Fio Productions
The Mountaintop, Fio Productions
Sunny Afternoon, Wales Millennium Centre
The best company for me in 2017 is Fio for pushing the boundaries of theatre and creating thoughtful and impactful pieced by working with community groups. They also incorporate hard to reach voices in to their work.
The best venue for me in 2017  is Sherman Theatre for the work they do in supporting new voices in theatre, and the efforts they go to in order to make theatre an inclusive, accessible experience.
But I suppose two of my biggest personal highlights this year were finally getting to see the American Folk/Indie group Bon Iver. I’ve followed them for many years and never been able to get tickets for as they typically sell out instantly and cause websites to crash, etc. I once even considered flying to Hong Kong to see them on their Asian tour before realising that was a bonkers idea. My husband surprised me twice this year with tickets to see Bon Iver headline the Forbidden Fruit Festival in Dublin in June, then again in September at Blackpool Winter Gardens. My husband isn’t the biggest Justin Vernon/Bon Iver fan but it meant the absolute world to me. Through the concerts, I was also introduced to the work of Lisa Hannigan and The Staves, which I’ve really enjoyed since the Dublin concert. I wouldn’t say I am massively up to date, experimental or fashionable when it comes to music – I like what I like, but despite the horrendous rain and mud, these two concerts were so meaningful for me. I’ve promised my husband I won’t make him sit through any more whiny Justin Vernon music in 2018. But this of course now means I will be dragged to some kind of weird Cajun/Zydeko/Blues music fest. There’s always a trade-off!
Young Critic, Vicky Lord
Woman in Black. New Theatre, Cardiff. It was something truly different. Obviously it was still scary to the point of terrifying but there were just so many layers of meaning that were left unsaid so that the audience could figure them out it was just truly flawless.
Blood Brothers, New Theatre, Cardiff
Miss Saigon, Wales Millennium Centre
My favourite cultural moment was seeing Lenny’s disability named as Dyspraxia in the August 012, Chapter Arts Centre production of ‘Of Mice and Men.’
Best Organisation, Wales Millennium Centre. It provides a gorgeous temporary home for West End hits allowing people who can’t travel to London the chance to see them.
Community Critic,  Emily Garside
La Cage Aux Folles, New Theatre
Rent, WMC
Where Do Little Birds Go, Cardiff Fringe
My company of 2017 is Taking Flight, particularly for their work with young people.
Young Critic Corrine Cox
The Cherry Orchard, Sherman Theatre
Sunny Afternoon, Wales Millennium Centre
In terms of inspirational organisations in 2017, I’d pick National Museum Wales for being genuinely collaborative and inclusive.  I have loved their 2017 programming (especially Artes Mundi, Gillian Aires, Agatha Christie photos and Who Decides?) I am also following the exciting developments and vision for St Fagans.
Artes Mundi was personal cultural event of 2017. I found Lamia Joreige’s Beirut piece really interesting and loved Bedwyr Williams’ Big Cities –  I think I went back to see the exhibition four times I enjoyed it so much!
Community Critic, Barbara Hughes Moore
The Cherry Orchard, Sherman Theatre. This was not only a pitch-perfect translation of the source material, but a highly relatable, funny and melancholy family drama.
Rip it Up, St Davids Hall. A sublime show, what it lacked in narrative it made up for in energy, fun, and spectacular dancing.
Burning Lantern, St Fagan’s. Despite Queue-Gate, the musical acts were stunning, sublime, and sung their hearts out.
I’d have to nominate  Sherman Theatre for my venue of 2017. We on the Law and Literature module at Cardiff have been linked up with Sherman Theatre since 2016, and they have been nothing but supportive, encouraging and welcoming – we have even built in their plays, performances and most recently a post show discussion panel into our module – and I was honoured to be on the post show discussion panel for The Cherry Orchard. They have also kindly come in to speak to our students at lectures – most recently Tim Howe, Communities and Engagement coordinator, led a very successful session on Law, Theatre and Performance, and our Law and Lit students were highly interested and engaged.
My favourite cultural event of the year was Pride 2017/ Return of the Big Weekend. It was my first Pride and it was utterly joyous, especially (or perhaps deliberately & defiantly in spite of) all the dreadful things that happened earlier in the year & the year before. It was beautifully, joyously defiant.
Young Critic, Eloise Stingemore
Funny Girl, Wales Millennium Centre.  Sheridan Smith was outstanding, any misconceptions I had about her being the right person for the role where blown out of the water the minute she belted out the first song of the show.
Grease, Wales Millennium Centre. A show that I never wanted to end, a truly spectacular musical in every sense of the word, I want to hand jive baby for days after.
Dinosaur Babies, National Museum of Wales. A truly amazing exhibition for all ages and is worthy of going on tour all across the country with ‘made in wales’ (and with a little bit of help from America) being proudly stamped on it.
My personal cultural of event 2017 was the  way the whole of Wales not just the Capital got behind our boys in wishing and dreaming them in qualifying  for the World Cup. It seemed that the papers and even just people on the streets whether the be commuting to and from work or having a drink in the pub where talking about it and with so much pride that it made my proud to be Welsh.
Community Critic, Patrick Downes
The Addams Family Musical at Wales Millennium Centre
For a musical to have such an effect on me after hearing the songs for one time, it’s something a little special Creep, cooky, and altogether brilliant all round performance
Harry Potter and the Cursed Child Part 1 & 2 – Much anticipated, did not let me down!
Coldplay at Principality Stadium – Fourth time seeing the band, first time on home soil – Just stunning, even thinking about the night sends goosebumps up my arm
Cultural event; Tiger Bay The Musical, Wales Millennium Centre
Best Venue – Wales Millennium Centre – With a mix of populist, and culture for all ages.

REVIEW: ‘SNOW WHITE AND THE SEVEN DWARVES’ BY GEMMA TREHARNE-FOOSE


 out of 5 stars (4 / 5)
The New Theatre is billed as a top draw for Panto loving families and it was my first time to see what the New Theatre had to offer. I’ve been a Muni/Park and Dare Panto regular since a child and was used to a pretty raucous affair thanks to the likes of Frank Vickery, and his delightfully outrageous teasing and bitchy banter.
So despite being caught in an almighty downpour on the way to the New Theatre, my expectations were mixed for Cardiff’s premier pantomime venue. I knew it was going to be much blingier and higher budget than what I was used to but ticket prices aside, would it bring additional value?
I haven’t been a fan of Eastenders for years and (sorry Samantha!) my distaste for soaps and reality shows in general means I typically have low expectations for their actors and performers. I wasn’t sure how to feel when I found out that ex-Eastender Samantha Womack and real-life caricature of a preening prince (X Factor Famous Chico) would be top of the cast list.

But if you love Panto (as I do) or even have a begrudging respect for it as a traditional artform, you just have to go with it.
Samantha Womack as the Wicked Stepmother is bloody brilliant, she really is. Sorry for misjudging you Samantha! She was excellent at dissing the Cardiff crowd and there were plenty of us in the firing line. Her vocals are really strong, too – particularly during the famous Hocus Pocus movie version of ‘I put a spell on you’.
Thanks to choreographer Stephen Harris, the set list and routines were contemporary with an up to date song list. Kids will love the Ariana Grande opener, which gets you in the mood for the fun ahead.
I’m not going to sugarcoat it, Chico still isn’t my cup of tea – but as A-grade cheddar goes, he’s great for the role. I’m not sure we need to see quite so much of his pecs throughout the show and (sorry to be a spoilsport) the whole Step Mother lusting after a younger guy and repeatedly groping him thing doesn’t sit well with me, but…that’s probably overthinking it.
Mike Doyle…not enough is said about how great an entertainer he is. He is completely underrated in the Welsh media, but his turn as ‘Betty Berry’ and Shirley Bassey is first class. Even if you’re not sure about Panto and minor celebs, you must see Mike Doyle rinsing Shirley Bassey and of course- completely getting away with it. Again, while his whole performance is pure hammery (if that’s even a word), he is a truly fantastic singer. He even reminds us at one point: ‘I was trained by Stan Stennett, love!’
There are plenty of local/popular culture references which audiences will love. Snow White last saw her Father get on a bus to St Mellons (never to return), the magic mirror comes from Argos, Alfie comes from the magical kingdom of Bridgend, the royal carriage comes complete with a car alarm (well it is Cardiff) and the people of Lisvane are ‘too posh to join in’.

Special mention also for the fabulous ‘Magnificent Seven’ and their incredible vocals, Mike Coltman for the beautiful costumes and the overall set design (keep an eye out for the wonder of the Snow White cottage).
I did notice a marked difference in general audience participation between the Park and Dare and the New Theatre. The audience on my night was a little flatter than I was used to. BUT! There is a lot of added wow factor in this New Theatre production. The way the set is dressed, the musical repertoire, the size of the cast and the quality of the costumes will blow you away. This is festive bling 2.0.

2017 has been an absolute shocker of a year, but this show is a guaranteed way to blow off the cobwebs and let the New Theatre shower you with sequins and glitter. Let go of your apprehensions and scoff down this Christmassy treat so sweet it’ll make your heart sing and your jaw ache from laughing.

Review Oslo, Harold Pinter Theatre/National Theatre by Sebastian Calver


Following an impulse to escape the façade of filmic structure and actually learn something from “the craft” I ended up at the Harold Pinter Theatre in the most diverse auditorium I have ever experienced; culturally and demographically.
Very rarely do I attend a piece of theatre without an agenda to dislike it due to disproportionately high-ticket prices, however, tonight every penny and pound was well worth investing; Bartlett Sher’s production, for the National Theatre, was a lesson well taught on a difficult, sensitive and currently extremely relevant challenge; conflict. Sher’s direction utilised Brecht’s concept of the Verfremdungseffekt to scrutinise our judging behaviours towards what we all unintentionally practise as prejudice.

The face value of Rogers’ play concerning a peace deal between the Israeli and Palestinian governments is projected by Sher to have a much more powerful incentive than to educate the packed auditorium; but rather to reflect the severity of current conflicts that are erupting not only concerning Eastern Europe but all over the world and ever more recently our own door step.

Through the use of projected media images and live records we were transported from a piece of powerful political performance to the reality of the collateral damage on the streets of Gaza. The impact was further amplified as Mona, one of the Norwegian politicians, shares with us the impact it had on her as she “saw it. Two boys facing each other, one in uniform, one in jeans, weapons in hand, hate flowing between them. But their faces—and we both see this—their faces are exactly the same. The same fear. The same desperate desire to be anywhere but here.”[1)
The design of both the performance space and the play supplemented one another clearly to aid the storytelling. Despite not being a “well-made play” and transforming the Classical or Aristotelian unities; the majority of the story was shared in the same design of board room with minor differences to clearly define its different global locations; when a new location was introduced It would be so verbally by the Norwegian politicians whose story it was that was being told. This technique of storytelling in a single shared space via breaking the fourth wall encouraged me to believe in the storytelling even more, as I was seeing the events from the perspective of history, whilst hearing the events from the recollections of the Norwegian politicians who experienced it.
Regardless of being a contemporary spectacle at times, the play still adhered to a classical structure accurately climaxing in moments of extreme tension which was cleverly juxtaposed with moments of estrangement juggling with my hope – to ideally end in a resolution which would leave me feeling proud to be a part of the human race – however, this was not the case. Here is where the story telling became more important than whether the play was “a good one” according to the structural critics; the resolution was promised and upheld and peace was planned, however Sher once again brought us back to the reality of the current conflict reminding us this is not just a play.
(1) Oslo by J.T Rogers. TGC publication

Review: The Grinning Man, Bristol Old Vic/Trafalgar Square Studio by Sebastian Calver


 Based on the classic novel by Victor Hugo, Tom Morris’ direction of the Grinning Man; written by Carl Grose with score by Tim Phillips and Marc Teitler is a unique story told at the heart of the West end in Trafalgar Square neglecting the usual audience pleasing fairy-tale templates. The story was told with a huge variety of creative yet engrossing techniques and mediums from the use of clowning to the expert puppetry all supporting the story telling of the unique story which came alive through many a medium.

The Trafalgar studio was packed thrice the volume of when I saw the Philanthropist earlier this year and the reason was clear from entering the auditorium: Jon Bausor, set designer, had turned the Trafalgar Studio 1 into a fairground circus with posters and fliers lining the walls, bunting and macabre fairy lights littered the upper space – the closest thing to a portal out of London had been created!

As I sat in a packed auditorium amongst tourists, avid theatre goers and well-known actors, we were all treated with the same status by Julian Bleach playing Barkilphedro, the court’s clown introducing the folly along with the characters keeping within the rules of good ol’ Freytag’s structure – to my surprise, despite the leap from introduction into sung introduction, the story was still told clearly and the new medium didn’t distract from the storytelling and perhaps even furthered the narrative as the repetition of lyrics enhanced our knowledge of the given circumstances introduced.

The pace of the first act was perfect as it did not take too long until we were introduced to Ursus played by Sean Kingsley, whose band of performers and puppeteers retold the tale of the Grinning man leaving out guilty details which Ursus did not yet want to reveal to the audience or his performers; this idea of multiple worlds was manipulated effectively by Kingsley who acknowledged and appreciated from the get-go that he was telling the story not only to Trelawny visiting his “show” but also to us audience experiencing this show within a show and this was easily set up by Kingsley agreeing that “this will be a private performance, with the exception of you few on-lookers”. The exciting action to follow was sharp and snappy as the puppets of GrinPayne and Dea were made the vulnerable source of our entertainment as the story unfolded of how the past became the present in which the puppets were left to the show within the show and the actors took the present role of GrinPayne and Dea; this clarity of past and present gave the story an immersive experience as it was easy to feel sorry for the puppets and relate this to what the present characters had suffered.

Overall I think that the execution of the play was greatly entertaining and at times affected the audience in ways beyond ‘just a play’, however I think the second act lacked a new exciting force meaning that there was a hole between the climax and the resolution.
 
 
 
 

Review: Heisenberg: The Uncertainty Principle, Wyndham’s Theatre by Sebastian Calver


Heisenberg: the uncertainty principle
 Having researched briefly, and confused myself greatly on what on earth the Heisenberg principle was, I had a vague understanding that, at the very least the play would involve “momentum”. I also knew that there was some involvement from the cast and creatives from “The Curious Incident Of The Dog in The Nighttime”, however, I was unaware of how intimately different this play at Wydham’s Theatre would be!

After an initial uncertainty, if you pardon the pun, having met the character of Georgie and being overwhelmed by her insanity, I finally understood that mental instability was staring us in the face and Anne-Marie Duff portrayed this genuinely enough that I started seeing this insecurity in my own relationships. This mental state of Georgie was enhanced further by the minimalistic staging in which the size of the performance space was tailored, sometimes physically, by the shifting of walls to fit the discourse of the given circumstance creating a whole different atmosphere when Georgie and Alex played by Kenneth Cranham were in the park as to when they were in the bedroom – however I do think that at times  Anne-Marie Duff relied on these walls forgetting the imaginary given circumstance for example when shouting outside her place of work and neglecting the potential consequences.

The story was fuelled and propelled by the soft yet harsh, plummeting yet inching relationship between Alex  and Georgie. The relationship almost seemed to be unfurling real time rather than under the time pressure of 90 minutes; partially down to the slick unit/scene changes in which Alex and Georgie portrayed the passing of time and emotional developments in frequent every day movements.  Reminding us how ordinary they were and how much of their character’s live in so many unaware people.
The use of vefreundem’s effect was subtle yet very present in the every day,  relevant for example in the concept of a relationship differing overtly in age, even more so in the lack of subtext. It felt like a relationship was forming successfully as everything was being shared and “man’s” patience and acceptance was caring and understanding.
Overall, I think the play taught me how important it is look after what you have and don’t take things for granted. It has given me the impulse to go see a loved one just to tell her how much I appreciate and love her.
 

Review Snow White and the Seven Dwarves New Theatre, Cardiff by Patrick Downes

 
Let me start off by saying this one fact about me; I’ve never been to a pantomime before. I’ve seen them- ITV did a few about 10 years ago – but as for seeing one up close and in person, never before. Although I can remember something resembling a pant in the Park and Dare in Treorchy when I was about 4 years old, but in terms of being an adult I have no memory. So what to expect? Well, pantos are as part of Christmas as the Queen’s speech and James Bond on telly. They’re just good fun for all the family, and Cardiff’s production of Snow White certainly falls into that category. There’s childish humour, for the adults, and grown up humour, for the kids. A good pantomime is always the way to introduce theatre to young minds, and with a brilliant ensemble cast, this one does not disappoint.
A good panto always has the following;
A dame – played brilliantly by Mike Doyle (alrighttttttt)
A prince – It’s Chico time (You may remember him as having a number one single which knocked Madonna’s Sorry off the top of the chart)
The Wicked Queen – Harsh to say this but Samantha Womack played a blinder!
For every Wicked Queen, they have a henchman – Oh Alfie Thomas, the day you finished playing rugby, was a sad day, but the upshot is, you get to play on stage a role well suited for anyone who’s faced the All Blacks.
The faithful friend – Tam Ryan has this comedic role as his own. Warm and very funny – watch for his reactions when he’s not centre stage.
And good, I mean, if there’s an evil witch, there has to be balance, and Stephanie Webber as Snow White is as perfect as the version of the cartoon version of Snow White that we know and love, that you will get.
If I was to be slightly critical, it would be the sound mix on the night. The voice mics sounded too pitchy – but that takes nothing away from the performance of all the cast.
I’ve seen Sam Womack twice this year, earlier at Wales Millennium Centre when she played Morticia in The Adams Family, and then tonight as Queen Lucretia (Excretia – nice touch Alfie). Her singing voice maybe a shock to many, but for me, it’s just something I’ve come to love. Cracking version of I put a spell on you – nice little Hocus Pocus touch! She seems to revel in being bad – and she’s so good at it. Funny, yet evil.
Stephanie Webber as Snow White suited her brilliantly, as did Tam as Muddles. Mike Doyle is Panto Royality having performed for the past 27 years, he truly knows his art and is a master at it. If you want to see how it’s done – you won’t go far wrong watching him.
I could quite easily talk about each person, but I think where this panto mainly succeeds is the family feel of the performers. It doesn’t feel like a “one person topping the bill” kind of show. Everyone is equal, and everyone brings something special to the show – yes, even Chico with a song that probably no one under the age of 14 would remember – yes, “It’s Chico time” is from 2006 – where has that time gone!
So, my first proper pantomime, and no doubt not my last. Go and see Wales’ number one pantomime as it’s at the New Theatre till January 14th.
And in style of panto speak – what about a rhyming review?
They said see a panto, and say what you think
Hopefully, you’ll love and not think it stink
To Cardiff I went, parked by the museum,
Two twenty it cost, well worth it to see them
The theatre is old, and has lots of history
The entertainment it holds, is great, no mystery
The cast is fab, the dancing is tight,
It’s fun just to hear Mike Doyle say “Alright”
Tam is great, Tam is funny,
Comic timing a must, now where is my money?
Alfie’s hacka is a sight to behold,
The AllBlacks humpty, another story of old
Sam Womack’s voice, majestic, amazing, and strong I will say
She put a spell on us all, from the theatre to the bay
A review in some rhyme, might happen some day
Until it does, I’ll do things my way
Because a panto they say, is old hat, not very cool
Well, in Cardiff as such, they’re breaking those rules
It’s fun, joyful and oh very happy
Snow White’s time in the capital, won’t last long – so be snappy
Make sure you get some tickets to see,
Wales’ number one panto, recommended by me
REVIEW: @ImPatrickDownes