I am ashamed to admit that my knowledge and version of Sleeping Beauty is entirely from Disney. I’m used to the owl dancing in a coat, an impossible leaning cake (which I want for every birthday, even at 31 turning 32) and the big dragon. So when I came to this production, the storyline following, at times, a different path, it was like a new story for me.
These differences are subtle. But to summarise the story of The Sleeping Beauty in this production: a girl (Aurora) is cursed by an evil fairy, after she isn’t invited to her christening. When she pricks her finger on a spindle, she would fall into a 100 year sleep. And so up until her 16th birthday, all sharp objects are eliminated from the palace. The evil fairy manages to sneak a spindle in and Aurora falls to her fate. Only true loves kiss releases her, where she awakes to a beautiful marriage and guests of fairy-tale royalty.
In this day and age, we are so used to modernisation of tales, of a reinvention of tradition, and often this is refreshing and allows the story to be told in a new way. However, Birmingham Royal Ballet went against this grain and kept it very traditional. And this, in itself, was absolutely refreshing. The opulence of the stage, the set, the costumes was exquisite and gave me a goosebump-ed feeling of the days of old, where audiences dressed up to attend and were part of the elite. The beauty of this, is that, at a very affordable price, anyone could come to this production and get that exact feeling. They get to come and feel special, and that was evident in the eyes of many young children in attendance.
The stage had so many layers to it and rose so high, that we felt as if we were really in a grand European castle or palace, with all the pomp and circumstance, the historical costumes along with the beautiful and decadent tutus, allowing us to not only be transported in time but in place.
Accompanied by a live orchestra, the tradition continued with the accompaniment, but also felt extremely special. There’s something about live orchestral music that makes you shiver with awe and excitement, and the atmosphere it helped to create were effective with the change of the mood of the scene.
The dancing of course was spectacular. Not a foot was wrong and tradition continued to seep through in each member, whether a principal or in the background. The only qualm is that some more technically advanced moves that required balance did not always translate to the dancers face and so the panic and concern of this became evident and made that moment lose its magic somewhat.
The end of the story, we are treated to new characters who attend the wedding. Puss in Boots, The White Cat and Little Red Riding Hood are introduced, providing some giggles and some change of pace. It’s only at the end in the final bow that a few more appear in the guise of a Sultan and another furry creature. This was a little confusing and likely to do with some tradition in the ballet. However, it felt a little out of place and distracted somewhat from the celebration of the cast.
Overall, seeing traditional ballet and in the form of a story I thought I knew, but evidently did not, was magical and special. We were transported in time, in place and into a fairy tale world.
Marking the 60th anniversary of Joan Littlewood’s epic anti-war musical, the award-nominated Blackeyed Theatre production of Oh What a Lovely War brings this outrageously satirical production to Theatr Clwyd in Mold this April, and what a triumph it is, earning a much-deserved standing ovation on opening night.
Oh What a Lovely War was developed by Joan Littlewood and her ensemble at the Theatre Workshop way back in 1963 and is a satire based on World War I. You might be fooled in to thinking then, that this piece is surely outdated with its traditional war songs and sarcastic of-the-period humour, but how wrong you’d be! This musical has spanned the decades and is sadly more relevant now than we would wish to admit: the idea of war as a ‘game,’ the harrowing casualty counts displayed for all to see, the pompousness of the ‘higher ups’, hosting parties behind closed doors whilst young men fall at the front. This production exposes war as an oxymoron in itself- a laughable tragedy. We know how the Great War went, but we are still shocked and somewhat guilt-ridden when we go from a Sister Susie’s Sewing Shirts singalong with the cast, snap into the latest number of dead and wounded displayed on screen and the disgusting dismissal of these by those in charge as simply that, numbers.
The cast take us on a journey of emotions from the get-go. As we enter the auditorium, members of the cast are already in full swing- talking to the audience, passing round balloons, allowing us to play their tambourines and so on. Total theatre at its very best- we are already immersed in the action. Victoria Spearing and Naomi Gibbs’ design falls somewhere amid the original production’s use of Pierrot costumes and Richard Attenborough’s 1969 film version’s more literal use of military uniform, with a simple yet effective set which, at first, transports us to a circus tent complete with strong man and ringmaster, then on to a music hall venue with pianists and cabaret singers before heading to the trenches, the towns and cities of Britain and beyond.
The cast are flawless and not only take on several roles with a multitude of accents and characteristics (often only visualised with a small accessory such as a hat or a coat) but are also the ‘band,’ playing a variety of musical instruments throughout. They also provide the vocals for all songs as well as all sound effects. There are moments when it is hard to believe we are not hearing real gunfire- no recorded SFX needed. It would be unfair to single any cast member out as they all quickly proved to be triple-threat performers and told the story with incredible energy, excitement, and sentiment.
The direction, by Nicky Allpress, is superb with so many visually stunning elements. The contrast of these beautiful moments against the backdrop of the brutality of war is extremely powerful. Highlights include passionate versions of well-known melodies including Keep the Home Fires Burning, Roses of Picardy and And When They Ask Us, the infamousChristmas Truce in the trenches beginning with the British Expeditionary Forces hearing German troops singing carols and a cleverly staged generals’ Ball, during which the male cast dance with sequined gowns and take on the roles of the generals as well as their wives!
This production is pure entertainment from start to finish- aesthetically exquisite, perfectly cast and the ideal combination of hilarious and horrifying.
Oh What a Lovely War completes its run at Theatr Clwyd on April 27th, 2024. The tour will conclude at Cornerstone, Didcot on May 17th, 2024.
I’m not sure what to expect as I take my seat at The Riverfront in Newport. A tree trunk branching over a stage set with psychedelic colours and ready for a rock gig is the perfect set for this show. The true story of the greatest drugs bust in history bursts onto the stage with its actor-musician performers alive with energy and blowing the roof off the theatre, even in the opening number.
The loveable cast of characters are introduced through their instrumental solos; an eclectic mix of guitars, percussion, cow bell, oboe and more. They switch between instruments, being ‘in the band’ and in the show and even between characters with poise and speed, costumes change in the blink of an eye, accents alter and even the stage crew are in costume, moving the set on and off stage. This means we are instantly transported back to the events of 1975 and 1977 in rural West Wales, the music mixing perfectly with the sometimes barmy, but always heartfelt plot.
The action opens with Londoner, Richard Kemp in his lab, mixing his latest batch of acid, the one that will cause a catalyst that he hopes will change the world. The couple of Richard and Christine are excellently played by Joseph Tweedale and Georgina White and their singing voices are amazing; ethereal in places, singing the prog rock score with ease. From there, we are catapulted into the lives of Smiles and Buzz with a hilarious section of Buzz driving Smiles to pick up his acid from various locations. Gerry accompanies them in a surreal yet side splitting section, where we feel ourselves swerving with the ‘car’ as Buzz spins the wheel. More excellent voices and fantastic comedic chops come from Daniel Carter-Hope, Sion Russell Jones and Dan Bottomley.
We visit the various other locations of the story including the police station where the ‘chameleon’ of the piece Phylip Harries delights us as PC Evans (he also plays Wil Bach and Wright throughout the rest of the tale). The scenes alongside Kieran Bailey as Richie Parry are so well executed, the lines pacey and thick with local references that the audience love. Richie is the perfect opposite to Steve Simmond’s cockney copper, Dick Lee. They’re like the original odd couple, colliding worlds, and personalities in their efforts to execute the largest drugs bust in history. A highlight for me, (without spoiling the surprise), is Steve’s musical number at the end of act one; he definitely got the audience rocking! Finally, Caitlin Lavagna gives a multi-role masterclass as she switches roles (and costumes!) with ease between landlady, Sgt Julie, Meg and Anne Parry.
These talented performers navigate the material with ease, expertly directed by Geinor Styles, who also wrote the show after interviewing a range of people who lived through the events, including Smiles himself and Anne Parry, Richie’s long suffering wife. This lends an authenticity to the piece; the characters live and breathe on the stage, brought to life through excellent writing. The musical direction also brings out the best in this talented cast, the music of the time brought to life by Greg Palmer.
The show is very funny, but at the heart of it all is a story which pulls us right back to the modern-day issues we are facing now. Kemp’s moving speech at the end, intended for his court case, but never delivered, is poignant; emphasised by the images projected behind him as he speaks. This movement was not only about the drugs; it was so much more; it was the start of a revolution intended to make people sit up and listen to the very real world issues starting back in the 70s and that we are now facing in 2024.
I was sorry I missed this when it toured in 2022, so I am thrilled I got to catch it this time. This psychedelic, surreal, trip of a musical play makes us laugh, makes us feel joy but is counterbalanced with this powerful message that we are left with as the music fades. The real-life Smiles sums it up perfectly; hoping the play hits the right chords of the serious issues that the LSD was trying to tackle, but also hoping that the sheer joy of the time is captured. I think the audience members would definitely agree that Operation Julie hits these targets and a lot more. Catch it if you can on this limited 8-week tour!
The Silent Volunteer, featuring Hiraeth by Sue Bevan.
Do YOU remember 1966?
Ah yes, England won the Soccer World Cup – lest we forget!
WE REMEMBER 1966
A terraced community aligned on a mountain slope. Aberfan, a South Wales mining village facing the ravages of time, when despite the warnings a darkness of coal sped downwards as a generation slipped into eternal slumber as heavy rain mixed with wind and an encompassing mist descended on the village that very morning
The date was the twenty-first day of October 1966.
Avant Cymru – Rhondda’s very own forward thinking theatre company – had been preparing the play “Hiraeth” producing the Valley Voices for playwright Sue Bevan’s portrayal of her experience as a young First Aider who attended the avoidable tragedy that struck that village community. Like so many others from the mining communities, alongside essential workers, local T. A.s (Territorial Army cadets) and including a newly trained nurse who in the future would become the mother of actor Richard Harrington.
Their memories linger long
Two venues presented “The Silent Volunteer” Two performances were at St Elvan’s Church, Aberdare on Thursday,11 April followed by two performances at the Tylorstown Welfare Hall and Miners’ Institute on Friday, 12 April.
Devante Fleming distributed the Meeting Agenda as people gathered at the Welfare Hall in Tylorstown. Matthew John Bool and Rachel Pedley joined Devante as Adam Vaughn addressed the audience to begin the play. They entered an exchange of conversations on the state of the past, discussing the present situation as Cler Stephens approached the audience. Cler’s monologue was both eloquent and poignant interpreting the playwright Sue Bevan’s very words
“Have you ever washed a child’s hand?” cleaning the bodies in an attempt to rinse the blackness of slurry and the turmoil that arose from within the deep blackened thoughts.
“Were you, as a parent, asked to prove how close you were to your child?” The audience remained visibly shaken
I would challenge anyone not to be moved by these powerful words. Cler was in front of the audience pleading for them to think of the future of their children and grandchildren. Their faces told her that they were listening. It was a genuine voice its message ran true.
The cast assembled on the stage dressed as of the sixties, mini dress, high platform white boots, the shirt and cardigan the dad who worked in the pit and the Mam in an office or factory. The Bopas (honorary name for the Valleys female neighbours as Aunts who would look out for the children in their street.)
A time when the children could play safely in the streets no heavy traffic, the boys perhaps wishing to be a Bobby Charlton (playing for Wales of course!), the girl who would perhaps become a teacher or for them to be grandparents to a family that would cherish them.
“You watch my windows boyo!” Bopas would shout as the opposing teams shifted the football from one side of the street to the other.
The Secretary who would take notes taken from the Engineering Official expressing concern about the tip overlooking the Pantglas School adjacent farm and village. Letters were sent throughout the 1950s and 1960s highlighting the danger and anxiety of the community as the coal tip loomed larger and larger. Urgent requests for investigations to be conducted answered stating that the “pipe” or “culvert” problem had been rectified.
Suddenly there was an almighty Roar that exploded within the Hall leaving us all slightly shocked as the cast remained rigidly still on the stage. The cauldron of neglect reverberated the terror of it all. The silence was deafening
It was around a quarter past nine in the morning when a catastrophic collapse of colliery spoil (around 140,000 cubic yards) engulfed the school and surrounding area.
School assembly had finished, attendance records were being taken as the children looked forward to the Half Term holidays No one would hear the distressing screams, the adults clasping the children close to their bodies, for they must have known what was coming and could not do more than cover the children in a quilt of love and comfort. 28 Adults and 116 children lost their lives that day. Do you remember?
Adam Vaughn sang Ar Hyd y Nos an emotional Farewell to innocence. Later the cast came down from the stage and asked the audience what they could have learnt from that time. Rachel portraying a Mam who was unconsciously wringing her hands in torment as she rinsed the school clothes of a beloved lost child. The World claimed Aberfan as its own with a warning that other tragedies could and would occur with no accountability
Tears were visible in the eyes of all the cast and audience, emotionally drained and moved by this brilliant performance highlighting the obscenity of such a disaster.
There were Guests at both venues. At Aberdare, the Lewis Merthyr Band played their Requiem to Aberfan. The Children’s Commissioner for Wales, Rocio Cifuentes viewed the assessment for compensation as “appalling”. It was a performance that left the audience in tears and still angry as it is relevant today as the village of Aberfan may lose its Community Centre
The Guest at the Welfare Hall in Tylorstown (the only such Miners Institute that remains in the Rhondda Fach and is the heartbeat of the community) was Natalie Sargent, Development, Manager Wales, of the Coalfields Regeneration Trust, who in a Question and Answer Session alongside members of Avant Cymru believed that we should all share a community of voices for future generations. Let the message be that the coal tips of South Wales are NOT SAFE. Coal may well have empowered the UK and yet, with a cry, the Valleys are raped repeatedly.
On a personal note, across from my house I saw the landslide of slurry slide like a tsunami one February day in 2020 I screamed inwardly and groaned “Not again!” No one heard me. We were lucky there were no fatalities. My village lies beneath the Tylorstown Tip aka Old Smokey (as it once did) below it is a farm and at the valley bed stands the Junior School (sound familiar?).
Aberfan is sometimes referred to as a “unique catastrophe” Not in the eyes of the communities of the South Wales valleys. It grew from the past capitalist greed and gross contemporary official negligence for which no one was punished. A standing ovation was received by the cast members and playwright. They had told, presented and produced the story in a superbly thought-provoking way. This play should be shared across the UK
To end thus
To misquote an Agatha Christie novel
Why didn’t they ask the people or community /
There are some wounds that apologies can never heal
All photographs courtesy of
TRACEY PADDISON PHOTOGRAPHY
Adam Vaughn
Matthew John Bool
Devante Fleming
Rachel Pedley
7 Words 1135
Devante Fleming
Adam Vaughn
8 Words 1135
Matthew John Bool
Devante Fleming
9 Words 1135
Cler Stephens
Ann Davies
Jess Morgan
10 Words 1135
Appreciation from the audience at the Tylorstown Welfare Hall and Miners Institute 12 April 2024
11 Words 1135
Cler Stephens
“Have you ever washed a child’s hand?”
Monologue from “The Silent Volunteer” by Sue Bevan
Gunter, by the initial synopsis, sounds like a story we know well. A witch trial, where the outcome either way is not a way out and where women have been condemned, sexualised and abused. However, Gunter is a little different. This particular trial starts with a football match. The richest man in the village, Brian Gunter, murders two boys at a football match, escaping imprisonment because of his status, gender and his money. But when his daughter suddenly begins convulsing and acting strange, it descends into a witch hunt for the two boy’s mother, who is believed to have cursed Gunter’s daughter in revenge, commenting on the difference of gender in finding justice, when she is sought after to be condemned.
A historical tale with only a small amount of fact recorded, the story is translated into modern day to try and place it in our minds as prevalent. The themes themselves are comments on gender inequality, patriarchy and injustice between women and men which is seen in today’s society, as much as it was in the 1600’s. This is effective in not placing the story in the past, allowing us to relate and to bring it to modern day. This is supported by the actors in football kit, beginning the show as we walk in with images of football hooligans projected onto the back wall and the continued inclusion of multi-media throughout. It is important that we don’t push the story into the past, making it seem like fiction or the past and not really a reality. However, the football aspect feels a small part of the overall story and a slightly disconnected element as the play unfolds. Perhaps it is there to remind us of how football has been historically male orientated from both players and fans but this loses its power during the production, in a good way, when it is replaced by much more.
Such a theme, on the outside, would seem intense. But there’s something special about this production when it’s actually very funny. Perhaps the content shouldn’t be so funny, but how the actors and the writing bring across these nuggets is so superb and does well to help build up the crescendo of the end of the play.
Multi-media is used effectively, to not only modernise the story, but to bring different levels and different and eerie elements to the production, with microphones and a live band, unique songs and soundscapes. The immense energy of the performers is powerful and energetic, making me wonder how exhausted they must be after each show. Their ability to change characters throughout, with only their skill and nothing more is extraordinary. At times, I wanted to pin point an actor for standing out particularly, but this was too hard. They all were monumental and brilliant in every role they took through sheer physicality.
Gunter makes so many poignant and important comments on past and presence differences between men and women and the injustices in this. A historical tale, centered in a time of witches and magic, which can still be translated to modern day, but with some comedy, some modernisms and an overall fantastic tour de force of theatre.
For Black Boys, Written & directed by Ryan Calais executes several delicate themes within this production successfully, serving blacks boys worldwide unapologetically. Justice is performed intrinsically as the black boy experience gets relived & told through the lens of six black men, who speak on behalf of black boys prohibited from speaking their truth out of fear, incarceration, elimination or self-destruction.
This production deeply reveals roots of oblivion, shame, guilt and suppression; depicting the multiple shades & textures of black boy’s strengths, weaknesses, femininity and masculinity which inevitably get covered by layers of pain, denial, toxicity, fragility, conflicting thoughts, emotions and feelings as a response to feeling emasculated, oppressed, subjugated; as well as belittled from police brutality, high unemployment rates, pre-judgements and discrimination.
From family complications to what it means to then become the man of the house once dad walks out, especially when all your life you’ve been stigmatised, misunderstood, marginalised, disfranchised, economically stagnant and secluded. For Black Boys highlights raw truth, distasteful secrets and unshaken ancestral knowledge, depths of supreme black history to reverse disempowerment to empowerment, victory, breakthroughs, self-discipline and mastery to prevent gang affiliations, knife crime, lack of positive male influences and internal suffering leading to sorrow, despair & suicide.
Each personal experience, whether love, homosexuality, exclusion, mental health or hyper-sexuality was magically expressed through dance, freedom of expression movement and singing, belting from the depths of their soul to demonstrate liberation, vulnerability, livelihood and desire to escape judgment, to just be, to be seen and acknowledged in the midst of white supremacy and conflicting institutional spaces.
Each cast member brought to life characterisation that’s individualistic and unique, infused with variety, personality types and how being grouped to fit into one box label ‘black’ is detrimental, pressuring black boys to put on a front, suppress their emotional side and refrain from making wise decisions in the name of being a man that should act tough, insensitive, prideful & egotistical. This powerful dynamic reflected the difficulties affiliated with feeling a sense of belonging, community and purpose when you don’t fit the narrative of being black within social settings but may neatly fit into white groups until they state the obvious.
For Black Boys who have considered suicide when the hue gets too heavy takes you on rollercoaster of black boy’s highs & lows. Witnessing blackness being diminished and dehumanised leading to vulnerability to then becoming fully black conscious, fully present in this world and confidently outspoken as the foundation to a hopeful future, living with purpose, no longer just existing due to knowing you have the protection of ancestors, a legacy infused with powerful African genetics and success stories rewritten in your name if only you are willing to fight that good fight and not give up no matter how heavy your hue gets. This play touches on the significance of black boys removing the negative residue that the world had ignorantly smudged on black boys from childhood, & how irrespective of how much residue & scars visibly remain, black boys, you are and always will be special.
Highly recommended! For Black Boys will be running until June 2024.
CAST:
Tobi King Bakare, Shakeel Haakim, Fela Lufadeju, Albert Magasi, mohammed Mansaray, Poshi Morakinyo
Those who are lucky enough to get over to Theatr Clwyd in Mold over the next week or so to witness Kill Thy Neighbour will be surprised to learn that this is writer Lucie Lovatt’s first full-length play. It has been a long time since I saw a play that captured my full attention and imagination throughout, as this one did. Lovatt had been inspired by an article about Cwm-Yr-Eglwys and the fact that only two of the fifty properties there currently had permanent residents: the political backdrop of the second-home crisis being current and resonating with, not just Welsh communities, but communities across the globe.
The play opens with the audience looking in on a family home in a little Welsh coastal village abandoned by its former residents and now overrun with wealthy folk from the cities buying properties as holidays home or weekend getaways. The house in front of us could belong to any of us- there’s washing up in the sink, dozens of coats hanging on hooks near the door, most probably not worn anymore, a couch that’s seen better days, a table and four chairs donning a cork board and a door that creaks open with the slightest breeze. This is no Instagram home, but a home that has seen generations of the same family living under its roof, a home that is loved, a home that has seen more than we first realise. The phrase ‘if walls could talk’ certainly comes to the forefront as the action progresses. And there is so much action despite the play not moving from these four walls. The characters, the setting, the plot keep the audience completely hooked throughout- a real mix of hilarity and darkness and yet everything believable despite the explosive secrets that are unearthed.
We meet long-married couple Caryl (Victoria John) and Meirion (Dafydd Emyr) who appear to be at odds- Caryl has called in camp-as-a-row-of-tents estate agent, Gareth (Jamie Redford), to value the house even as Meirion insists he is never moving; this is where generations of his family grew up and he never intends to sell the house. Later we learn there may be more to his decision that first meets the eye, Lovatt consistently dropping hints and clues of the drama that is about to unfold. Nothing is predictable but we are left frequently wondering.
The outsider invasion is represented by Max (Gus Gordon), a Bristol-based marketing consultant who has just bought the property next door, which Meirion has agreed to keep an eye on while Max is still commuting back for work at the same time as attempting to salvage his relationship with his girlfriend who doesn’t seem all too keen on the move.
The drama continues to unravel as Caryl and Meirion’s thirty-something daughter, Seren (Catrin Stewart) arrives on the scene with a few secrets of her own. She escaped the village years ago, much to the disappointment of her mother. Arguments and revelations ensue and there is a constant undercurrent of something like the bubbling of a volcano ready to erupt at any moment. We hang on every word of each character, all of whom we can relate to in one way or another; the near retired wife who doesn’t feel wanted, the downtrodden father who has always worked hard but isn’t satisfied with his lot, the happy go-lucky guy next door who just wants to please everyone, the local estate agent who wants his next sale but who also has a heart and the daughter who moved away and wants a family of her own.
The cast are simply superb and play every word and emotion perfectly- it is impossible to single out one player. The comedic elements are skilfully balanced against the raw issues arising in this production and has certainly left me wanting to see more of what this writer has to offer in the future. From the set to the direction, the casting to the interweaving lives of these characters before us- this is a must-see piece of theatre!
Kill Thy Neighbour completes its run at Theatr Clwyd on April 20th.
Love Steps playing until the 20th April at Omnibus Theatre, is written, co-produced and directed by Anastasia Osei-Kuffour. The play features two cast members, Sharon Rose; who plays Anna. Anna is young, black, gifted, driven and ambitious. Reece Richards, plays multiple male prototypes and well executes the variety of qualities, traits, mixed messages and nuances woman experience from various types of men of different races, cultures and diverse backgrounds in reality as well as via online-dating.
Love Steps delves deeply into each step required to experience to eventually reach the final destination ‘Love’. Whilst simultaneously highlighting the difficulties black woman especially tend to experience in the name of pursuing, attracting and feeling desired to tap into love within England. Starting off with Hinge, the dating app designed to be deleted (as the branding states) metaphorically depicted ping gaming sound effects, as we witness Anna swiping away until she matches with a potential, however, how much potential is there when there is a match? how truthful does one need to be initially? and is asking for openness, honesty & vulnerability too much once the signs are there that you’re both into each other, willing to give the dating experience a fair shot? if so, is it the guys fault by default preventing the love petals from blossoming out of fear, anxiety, lack of emotional intelligence and subconscious detachments from femininity, feelings and fate. This play smartly sparks a lot of gentle curiosities… even once you’ve left.
Poetry was nicely incorporated throughout the play to showcase various episodes of love such as the honey moon phase, initial stages of chemistry, romantically consumed with passion, excitement, butterflies, chances, openness, shared memories, realness, affection, hope, dedication, purpose & warmth… slowly wittering away to coldness, emotional distancing, suppressed feelings, talking less, loose usage of “I love you”, loss of interest, deceit, non-confronted deception, loneliness, mixed emotions, emotional distress; leaving a woman broken, numb and hurt; all in the name of love which inevitably conflicts back to a broken heart, a heart broken from love when you never saw it coming.
Captivating expressions were revealed to manifest the underlying feelings and states women are left with and how men spiritually channel regret, pain, remorse, disrespect and oblivion to their wrongdoings through physical theatre movement, which nicely complimented the space with the dimmed lit illuminance.
Love Steps speaks volumes of how much importance females can place on relationships during adulthood. How lost the mind can get, how healing/self soothing balms and recovery steps will always be unique to an individual, & how much that stage gets overlooked forgetting it needs to be nourished frequently, valued and prioritised during and long after a break up until someone possibly captures your heart next.
There are several fundamental messages to be taken away from this play. Anna being the first generation born in the UK gave her a lot to ponder on when making comparisons on whether her feeling undesirable, unwanted and second best would be her fate back home in Africa, therefore, finding self acceptance & comfort to ground self when caught up in waves of being seen as a fetish, sexualised, objectified, an option and a non-beauty standard within western society whilst dating all types of men, is the antidote to providing true sanity, tranquility & female empowerment when recuperating from heartbreak to give love another shot!
A highly recommended play that explores many crucial themes such as cultural dynamics and variations of dating styles that people worldwide are bound to experience from all walks of life striving to search, find & intimately connect with the next chance encounter to experience love at least once in their lifetime.
The Death & life of All of Us explores themes of identity, self-judgement, sexuality, acceptance, loss, growth, transformation. Whilst touching on indifferences when born into families with long-standing cultural traditions and morally influenced cultural beliefs that no longer serve us, therefore, battling internal-conflict to rebuild identify through adaptations and changes as we navigate through our destined life path.
From video recordings projected onto three different screens set like a cubicle around the stage to a live sound mixer joined with Victor on the stage, the audience were taken into the mysterious yet curious enchanting world of Victor, who from young wanted to escape from the confinements of his politically correct world where he could feel truly liberated and be honest with himself and his loved ones without feeling guilty as a heterosexual man from both Jewish & Arab descent.
The Death & Life of us All; initiates up close and personal incentives as we dive into his world of trust, love, intimacy, family secrecy and privacy. Victor’s preserved footage documented the openly loving yet securely enclosed connection he shared with his self-disciplined great aunt Marcella, the more she shared during the short clips about her past affiliations, left you hungry and eager to know and hear more! Due to the highlights of political powers intervening due to her past love interests working in elite jobs, and harassment/stalking from officials within governmental affairs and more – we could only sympathise and emotionally connect with her to gain sufficient support & protection during the rest of her chosen secluded life.
This play explores the unknown emotional turbulences we can all experience as a result of what we are made to identify as due to cultural/traditional beliefs and upbringing, confrontation of self as we mature due to no longer wanting to identify or follow what we have been indoctrinated or conditioned into from birth. Death and life serves as a metaphor where we are consciously taken through the maze of our own lives to acknowledge the concept of our past, present and future to simultaneously remind us that time is not linear and that the past is constantly flowing into now back & fourth.
Towards the end of the play we see how Victor gets lost in dance and rhythm as the music genres Dub mixed with Lebanese traditional sounds combine. The ambience increased as Victor’s dancing became exaggerated, eventually wearing him out. How our energy can slowly deflate as we reveal our heart, release personal stories, unleash nuances and strive to maintain the newly found sequences to our much preferred routine, structure and lifestyle choices with or without our family approval.
The melody of this play is packed with Victor’s humour, sarcasm and wittiness as you simultaneously ponder the duality and the significance of death & life.
Come From Away has been called one of the ‘best new musicals of the century,’ which is high praise indeed when you consider the sheer choice and variation of shows and, in particular, musicals, when you consider attending the theatre. This assessment, however, is truly well deserved, proven by the instantaneous standing ovation at the end of the opening night of Come From Away at the Millennium Centre.
The plot focuses on the true-life story of the town of Gander. Once the biggest airport in the world, Gander International was at the forefront of aviation, perfectly placed for planes to land to refuel during their transatlantic flights. Since those glory days, however, there’s talk of tearing down the airport as planes can now make their journeys on a single tank. However, the peaceful lives of the residents of Gander are shattered as 38 planes were diverted there due to the airspace being closed after the catastrophic terrorist attack in America on 9/11.
Starting with the staging; there is no safety curtain as we take our seats; the stage is set simply with chairs and tables. The band is on stage alongside the action. The back wall is simple, but projections create all the atmosphere we need; starting with clouds and transitioning as the show progresses to show us various locations and occurrences, such as small lights as the residents gaze up at the numerous planes landing. The simple set means that nothing detracts from the stories being told here. The chairs are moved around to create Tim Hortons where the Mayor sips a Pepsi and ‘gets the lay of the land,’ the rows in the planes or the seats in the school buses that escort the fearful temporary residents of Gander to their impromptu homes on the island. Lighting is incredible, with several moving tableaus perfectly highlighted by the creative placement and tones.
The music is uplifting, joyous and the hooks are infectious. The musicians being on stage and sometimes involved in the action is the perfect way to ensure that the music is well and truly integral to the piece. The pace is non-stop, the harmonies are perfectly placed, the voices are excellent and so heartfelt. Particular favourites of mine were ‘Welcome to the Rock’ which is a rousing opener, ‘Prayer’ which shows the diversity of the passengers on those flights so perfectly, ‘Me and the Sky’ which is Beverley Bass’ homage to her journey to becoming a pilot, and the hilarious ‘Screech In.’
The cast was wonderful and it’s hard to pick out one member as this is such an ensemble piece where every actor is equally as important. However, special mention must be made to Kirsty Malpass, the resident co-director and choreographer, who stepped in to play ‘Bonnie and Others.’ It really shows the importance of understudies, covers, and swings and epitomises that the ‘show must go on.’ Every cast member play multiple parts; the residents of Gander initially, then numerous, various passengers and the pilots and crew on those 38 flights. Each transition is seamless. You are never in doubt of which character is speaking; the change in accents is impressive, as is the Brechtian technique of adding a hat, jacket, or similar, to show that we are now seeing the story of a new character.
What Come From Away does so well is these stories. You feel for every single person delivering their tales. The real characters are presented with sensitivity and truth. The fictional ones too, show what those people went through being so far from home, maybe alone, scared, wondering about their loved ones and appalled at the visions unfolding before them on television screens. It does not shy from showing us the difficult things; the fear and suspicion of the Muslim Egyptian passenger, the difficulty with understanding one another’s language and culture, the overcoming of those issues and coming together because, when it comes down to it, we all ‘come from away’ and all deserve to feel loved, for our stories to be heard, for someone to hold our hands when we feel isolated.
So, is Come From Away truly one of the ‘best new musicals of the century’? It more than earns this accolade, in every note, every story portrayed, the way that we can still learn from it, even over 20 years after that terrorist attack. If anything, we need this musical more than ever, as it shows us that even as we stand ‘on the edge of a moment,’ perhaps in need or feeling alone, there is someone ready to make you feel like you belong, whether that is one person, or a whole community.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
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