Tag Archives: Cardiff

REVIEW: CLUB TROPICANA BY GEMMA TREHARNE-FOOSE

Club Tropicana 

Press Night: 13 Aug 

Wales Millennium Centre

After a long absence from theatre reviews this last year and with the media a toxic cesspit these days, I felt so ready to be entertained. Like, seriously entertained. I have been awaiting the next chance to review something lively and upbeat, like a demonic glitter leopard stalking her pray. Yes, I was so desperately in need of an escape from the grim reality of Britain in 2019, that when news came from our friends in the WMC of a spectacular 1980s musical that harked back to the cheesefest pop era of my childhood, it truly felt like a gift. 

So it’s quite appropriate that in order to share this therapeutic time-warp, I should invite along my older and let’s face it superior older sister. Even though we only really got to know one another when I was already in my twenties, I have always looked up to her. Not least because my earliest fleeting memories of her were when I was a little nipper and she was already in her teens. At this point in the 80s, Wham were still going full pelt and George Michael wasn’t gay yet. My sister had Wham and A-ha posters on her wall and her teenage bedroom was a treasure trove of jewellery – wowwwww, magazines – wowwww and hairspray – wowwwwww.

It was a warm fluffy 1980s memory, a defining moment. Perhaps even stronger than my memories of the more grim aspects of the 80s – miners strikes, recession and poll tax riots. But look – kids need a dream! They need icons! Which is why I once cos-played as Madonna with a friend when I was eight and we called for a boy we both fancied. Back-combed hair. Beads, lace gloves – and a black kohl beauty spot penciled onto our top lips. Papa don’t preach, it seemed appropropriate at the time. It’s not everyone’s cup of tea as an era, but Maggie Thatcher or not, the 80s was epic! 

This was my frame of reference for coming along to the press night for Club Tropicana – I was already buoyed by my love of cheese, the 80s and musical theatre. I must admit I had my reservations about Joe McElderry (X Factor) as lead, but I learned my lesson after judging former X-Factor contestant Lucie Jones before seeing her utterly slay in the role of Maureen in Rent. I was also skeptical about the use of ‘Love Island’ references in the musical’s marketing literature. I might like cheese and pop music but even I have my standards.

The premise of this family friendly show is that a budding young bride and groom get cold feet and take a hiatus ahead of their impending wedding only to – surprise! – find themselves at the same resort where the drinks are free and tans glow. The show is an unapologetic romp through some of the poppiest, cheesiest anthems of the 80s. I wasn’t sure to what degree these anthems could complement or dovetail with the storyline or how the proposed story would hold up…this is something I suffered I mean ‘struggled with’ with at Son of a Preacher Man in 2018. You can love the songs, but if a musical isn’t delivering on the storyline then it will fall on it’s arse. 

So what then of Club Tropicana? 

Let’s be frank. It won’t win any prizes for being clever or original. The characterisation (bar a few stand out examples) is challenged at times by a simple (to the point of dumbed down) script and carosel of smash hits that come so thick and fast, it’s dizzying. It was difficult for me to connect to the characters, some of whom felt like musical theatre stereotypes and perhaps lacking in personality at times. The story hardly allowed for any development of some of the supporting cast’s stories beyond a few lazy jokes.

Imagine Hi-De-Hi mashed up with Mrs Brown’s Boys and a splash of Alan Carr and Eldorado. There are jokes about sex, farting, diarrhoea, being sick. There is humping, there is more innuendo than a Carry On comedy, more ham than a Danepak factory. But while all this stuff may leave an extremely nasty taste in the mouth of the more sophisticated theatre-goer (like the couple in front of me who seemed to have gotten lost on the way to a Chekov play or the ballet and cringed and recoiled with any hint of smut), we were mosty all there to unwind, have fun and enjoy the tunes – like refugees from the toxic wastelands of 2019.

Joe McElderry is hard to dislike and he works his socks off to win over the crowd, he plays the part of super-camp holiday rep Gary and is great fun, getting the audience to their feet and joining in a locomotion-type dance from the get-go. His personality shines through and vocals are super strong. The choreohraphy, costumes and hair – all excellent – one highlight being that gravity-defying quiff on Christine’s sidekick Andrea (played by Tara Verloop).

There are some surprisingly lovely musical arranegements in the show, with a beautifully crafted accoustic version of ‘Take on Me’ being a standout song, performed by lead actors Neil McDermott as Robert and Emily Tierney as Christine. I hate to be predictable but in every musical there is a suporting cast member who lingers in the memory (perhaps unfairly sometimes, given the pressure and scale of task facing the lead role actors). They seem to have a presence that even surpasses the role they embody – carrying with them an effortless ability to shine, no matter how lame or stereotypical the role they play.

For this show, it’s Kate Robbins as hotel maid Consuela – a Spanish trope so tired, they had to bring it back out of retirement. But her physical comedy and impersonations of a raft of 80s stars throughout the show is the backbone of Club Tropicana. For all the dazzling choreography, pretty musical theatre performers and bright lights – you need someone who will cut through the noise and make you belly laugh. More than that though, her impressions of the vocals of Tina Turner, Madonna, Shirley Bassey and even Cilla Black are truly sensational.

In places Club Tropicana was clunky, and yes – it’s possible to eat up so much cheese you are quite tired of it and need to lie down afterwards, but it’s a show that is unashamedly for those of us who remember the 80s as a time when sitting on the floor doing the ‘Oops up side your head’ dance seemed like such innocent fun. It’s nostalgic and warm and you won’t even mind being part of a Butlin’s-style Spanish package holiday experience where you wouldn’t normally be seen dead.

Take your Mam or your mates, listen to Cyndi Lauper in the car on the way down….eat the cheese! You can always have a lie down afterwards….


Review Kinky Boots, Wales Millennium Centre by Barbara Michaels

Music and lyrics: Cyndi Lauper

Based on the book by Harvey Fierstein

Director and choreographer: Jerry Mitchell

Reviewer: Barbara Michaels

4.5 out of 5 stars (4.5 / 5)

Plaudits for this musical, based on the book by Harvey Fierstein and the 2000 British film, are thick on the ground – and deservedly so.  Brash, bright and beautiful throughout, Kinky Boots tells the story of one Charlie Price.  An unwanted inheritance from his father leaves Charlie running a shoe manufacturing company in Northampton and forming a partnership with cabaret performer and drag queen Lola.  When the business is threatened with closure and bankruptcy Lola saves the day by suggesting the manufacture of high-heeled boots for drag performers. Et voilà!

Some great songs, including those with a message and others which are pure joie de vivre, pack a punch.  Kinky Boots is so much more than just another musical.  At the heart of it – and what a big heart it is – is a subject which nowadays is, for the most part, treated empathetically, which was not always the case in some communities not that long ago.  I refer to transgender – often in the news of late.  The story tackles it head on, with the occasional heartbreak yet with fun and verve, dished out by an amazing cast who earned a standing ovation last night in the Donald Gordon theatre in the Wales Millennium Centre in Cardiff.

As Charlie, Joel Harper-Jackson proves, after a slow start, that he can both act and sing, coming into his own in the second half with a rendering of Soul of A Man which tugs at the heart strings.  But it has to be said, it is Kayi Ushe’s Lola that steals the show. Ushe gives a scintillating performance as the drag queen and, equally telling, when he appears in male clothing. Lola’s singing of Hold Me in Your Heart as the show nears its close is heart-rending.

Demitri Lampa cuts the mustard as Don, managing to steer clear of the pitfalls of such a role i.e. portraying a so-called masculine prototype with beer belly and a set of out-moded ideas. Adam Price as the factory manager George makes this cameo role his own, although the joke wears a bit thin towards the end of the show.  Coronation Street’s Paula Lane as the factory girl sweet on Charlie and Helen Ternent as his erstwhile fiancée Nicola provide an extra fillip. 

As for the Angels – the dancers at Lola’s club – wow!  Brilliant and believable they sing and dance throughout showing amazing talent and especially outstanding in What A Woman Wants, sung with Lola, Don and factory girl Pat in Act II.  Everybody Says Yeah, sung by Charlie, Lola and the Angels with full ensemble, which brings the first half to a close is another gem. You couldn’t wish for better. All aided and abetted by great music, wonderful costumes and David Rockwell’s atmospheric set.  Sit back and enjoy the magic that is Kinky Boots.

Review: Joseph and the Amazing Technicolour Dreamcoat – Patrick Downes

Review:  Joseph and the Amazing Technicolour® Dreamcoat – Wales Millennium Centre 14 May 2019

You’ll surely know the story of Joseph and the Amazing Technicolour® Dreamcoat. If not…. where’ve you been? It’s a retelling of the Biblical story of Joseph, his eleven brothers and the coat of many colours.

From its origins in the late 60s to its revival in 1991 with Jason Donovan (then Phillip Schofield), this new touring production of Joseph certainly stands the test of time. It’s been one of my favourite musicals and that was only through listening to the 1991 cast recording, over and over. So, that aside. How does this fair?

Jaymi Hensley as Joseph is certainly a little powerhouse of a vocalist which belies his pop background of XFactor and Union J. 

Trina Hill as the Narrator guides the audience through with a voice of great stature for someone so diminutive, and Andrew Geater as Elvis, err, Pharaoh manages to steal the second act.

Special mention though to the other cast/ensemble as I can’t remember the previous tour in 2016 being so rounded like this, as for the children – on stage throughout both acts, just brilliant! There’s more to what you may know of Joseph and it’s certainly worth a few hours of your time seeing it on this current tour.  A perfect entry into the world of musical theatre for anyone of ages 8 – 98

I think you should not “Close every door” and just “Go go go” see Joseph!

Rating: 🌟🌟🌟🌟

Joseph and the Amazing Technicolour Dreamcoat is on it’s UK Tour at at Wales Millennium Centre till 18th May 2019

Reviewer: Patrick Downes

® Technicolor is a registered trademark of the Technicolor Group of Companies

YOUNG ARTISTS FESTIVAL at The Other Room by Gareth Ford-Elliott

The Young Artist’s Festival (YAF) is a week-long, annual event run by The Other Room, Cardiff’s only pub theatre. For the festival, the theatre invites between 35-50 participants from Wales’ emerging creative scene into their doors to gain invaluable experience working with their peers.

The initiative is open to actors, writers, directors and stage managers and aims to provide an opportunity to explore their chosen discipline, encourage collaboration and artistic risk-taking. The participants are shown the value of hard work with an intense, but rewarding, week. They’re given the opportunity to work with new, contemporary work. But the ultimate aim is for participants to gain confidence, grow and keep creating beyond YAF.

The week starts with various workshops and talks from The Other Room’s staff and industry professionals from a broad range of backgrounds. These workshops include casting, starting and maintaining a company, arts council applications, marketing, community theatre as well as sessions for skill-sharing and networking. They also have specific workshops within their respective disciplines with industry professionals.

The participants are then introduced to their companies, comprised of a group of actors, one director and one writer, and start working towards their end-of-week goals. Actors and directors present a performance of a given commissioned script and a dramatic rehearsed reading of their writer’s script. Writers write that ten-minute play whilst stage managers make it all happen.

Actors

The actors workshop this year was with Keiron Self and had a specific focus on how an actor interprets text. The actors from YAF tell me this was vital for the short rehearsal period they had. You don’t have long to get to know your character, and it’s especially important in shorter pieces where characters rely more on performance for characterisation.

Once the actors are in the rehearsal room they have a couple of days to get off book before their first performance. Something some saw as a somewhat daunting task, having never done it in such a short space of time before. However, they realise it’s perfectly possible and that the experience is vital for them moving forward. Especially when preparing for auditions or working in the fringe environment where time to learn lines is limited.

The performances at the end of the week come and go, but it’s really about the experience of the week, of putting yourself out there and on stage that seems to last beyond the week for the actors.

Directors

The directors had a workshop with Simon Harris, who focused on doing text work before rehearsals and working with new writing. The directors tell me this was great experience going in. Often their teaching has focused on working in the room and once again, the workshop complimented the direction process for the week.

The directors also have a production meeting with stage managers where they set out their vision and discuss the possibilities. This is something few of the directors had done before and again, it’s something that really helps with their personal growth.

Directors also expressed the experience of being able to work with a writer and have them in the room. Directing for rehearsed reading is something that kept coming up also. Directing with a specific focus on displaying the writing, which is different from directing the commissioned piece. Directing both during the week is a valuable experience to take away.

The trust and support given to directors to control not one, but two pieces of theatre, be placed in a room full of actors and deliver their own vision is something the directors also spoke highly of. The support from The Other Room’s artistic director Dan Jones and YAF producer Claire Bottomly was a big part of the director’s experience.

Stage Managers

As previously mentioned, the directors and stage managers have a production meeting near the start of the week. For the stage managers this is something none of them had done in this way before and is extremely helpful moving into YAF.

The stage managers are very hands-on during the week. With the support of a professional stage manager, in 2019 being Kristian Rhodes, they effectively make the shows happen. Bringing the director’s visions to life by sorting set, sourcing props and arranging lighting and sound. They’re present in some of the rehearsal process and get to tech a run of the final performances.

Overall, the experience is positive for the stage managers. They’re constantly busy and feel like they’re just on the job. But, crucially, have that support from a senior stage manager and The Other Room staff.

Writers

The writers start their week in a writing workshop with a professional playwright. This year, and the year I did it in 2017, it was with Matthew Bulgo. Bulgo is an excellent playwright and I can say from experience, very good at leading a workshop. He focuses this one on structure and writing for short-form, which is key for the week moving forward. All writers expressed how helpful this was on many levels.

Bulgo also returns to offer feedback, which is also offered by The Other Room’s staff throughout the week.

The writers spend the first half of the festival writing a ten-minute play. Something that sounds quite scary at first, but from watching the scripts performed at the end, easily possible to a good standard.

Writers then go into the rehearsal room on the Friday and Saturday to see their scripts rehearsed. This is a new experience for some, as is what happens in the afternoon on the Saturday when their scripts are performed in a dramatic rehearsed reading.

The writers seem to be the most stressed during the week, but as a result the most relieved and happiest at the end when they see their work. It’s an intense but rewarding week and in some cases the writers take their scripts and develop them further.

Speaking to participants from all disciplines, it’s clear they’re there for similar reasons. To make connections and friends, learn, explore, grow, reignite a passion, re-motivate, progress ideas, bounce off others, practice professionalism and a collaborative process in a supportive environment.

By the end it’s clear the week has been valuable, often in more ways than they realise. It gives participants a sense of pride if they need it or helps to ground them if they’re more critical. To realise that not everything has to be a masterpiece, and anything produced within a week won’t be perfect. But that it can be done. It shows them that this can be done and all it takes is a bit of hard work and the knowledge, which YAF provides, to do it.

When I did the Young Artists Festival in 2017, it didn’t seem much different. The main difference is it seems more focused on creating an environment of collaboration. Not that it wasn’t there in 2017. It’s hard to really progress YAF every year, because it’s always been a really great week for anyone involved. They’ve always been aware that people are different and always tried to cater to everyone, making young artists feel comfortable in an environment that, for many, is fairly alien – the world of professional theatre making.

REVIEW: CRAVE by Sarah Kane at The Other Room by Gareth Ford-Elliott

5 out of 5 stars (5 / 5)

As part of the Professional Pathways Programme at The Other Room, trainee director, Samantha Jones, and trainee producer, Yasmin Williams, are presenting their showcase production, Crave by Sarah Kane.

I met up with them to chat about it before the run started which you can read HERE to find out more about the production process and the Professional Pathways Programme.

The Other Room opened in 2015 with Blasted, Sarah Kane’s first play. Fitting then that Jones and Williams chose Crave which was a turning point in Sarah Kane’s career. Both in her artistic style and her critical reception.

It’s a turning point in their own careers and Sarah Kane has always felt somewhat connected to The Other Room. A theatre that allows young artists to take bold steps, as Kane was allowed to do by The Royal Court. That is exactly what taking on Crave is for Jones and Williams. A bold statement of, “this is what we can do.”

The writing is obviously excellent, and not really up for review as such here. But it is worth saying, you won’t see many plays more real and brilliantly written than this in your life. Almost every line is crucial and despite running at 45-minutes, there are brilliant plays twice as long with half the content. It truly is a masterpiece.

That said, the script can’t do the work on its own. If the artists involved don’t rise to the challenge, the play will fail. Don’t be fooled, the script is great but not an easy one to direct or act. It won’t carry itself and is open to interpretation. With no vision, it’s just a bunch of words. Kane makes those involved work for its brilliance. She wrote Crave for directorial interpretation, to be explored and played with. This is exactly why Samantha Jones and Yasmin Williams chose it for their showcase production.

As it is, the artists involved relish and rise to the challenge brilliantly.

Samantha Jones’ direction is sublime. Close attention is paid to rhythm which highlights the script’s strengths. The tone is handled really well helping Jones control the pace, which is done beautifully.

The decision to perform in traverse is a great one, not allowing the actors anywhere to hide. Sometimes Crave is performed quite statically which really doesn’t seem to work. Jones, however, brings the play to life with excellent physicality, making the most of the small space. The playis breathing and vibrant in its direction, which compliments Crave perfectly.

All four performances are excellent. Its hard to pinpoint one as a standout as they all work well as an ensemble and stand-out as individuals. As the production is in collaboration with Royal Welsh College of Music and Drama, all four actors are second year acting students and they do their college proud in this production.

Emily John explores her character and it really feels as we get to know her throughout the play. She feels both strong and vulnerable at the same time which is really powerful.

Callum Howells brings natural charm and humour to his role. His character, A, is completely unaware of himself in a beautiful and disturbing way, depending on the context. Not distracting from the production’s dark tones, rather offering a break from it. His delivery of ‘that’ monologue is simply magnificent.

Johnna Dias-Watson feels ever-present in the production. Her care in physicality stands out and you always feel her presence because of it, and when you don’t, there’s a reason why. Playing a ‘mother’ figure, this works perfectly.

Benjamin McCann also brings some humour to the production, but his character is much more aware of himself than Howells as A. His delivery towards the end of the play is particularly good. He feels natural and I have to say I personally resonated most with him.

Zoe Brennan and Mimi Donaldson’s set design is lovely. Creating a claustrophobic feeling in the traverse set-up which allows space for the direction and acting to flourish. The lighting from Ryan Joseph Stafford is mystic and minimal, setting the mood well. Joshua Bowles’ sound design creeps through, mostly subtly, yet obvious in moments. None of the design is complicated but compliments the production allowing the play to flourish.

Crave at The Other Room is an excellent production of Sarah Kane’s masterpiece exploring what it is to love.

Ultimately, this production is very hard to put into words. I left the theatre and felt completely different for two days. Even writing now, I just don’t have the words to justify my feelings. It is a compliment to Kane’s excellent writing, but the job of Yasmin Williams and Samantha Jones is to make this play speak as loudly as it can. They have done that extremely well and deserve the credit for what they achieved with Kane’s work.

Crave by Sarah Kane at The Other Room, Cardiff
30th April – 11th May 2019
Directed by Samantha Jones
Produced by Yasmin Williams
Starring:
C – Emily John
M – Johnna Dias-Watson
B – Benjamin McCann
A – Callum Howells 
Set Designed by Zoe Brennan and Mimi Donaldson
Sound Designed by Joshua Bowles
Lighting Designed by Ryan Joseph Stafford
Stage Managed by Millie McElhinney
Deputy Stage Managed by Emily Behague
Assistant Directed by Nerida Bradley

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

3 out of 5 stars (3 / 5)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

5 out of 5 stars (5 / 5)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

REVIEW: TURBINES at RWCMD by Gareth Ford-Elliott

1 out of 5 stars (1 / 5)

Turbines by Sarah McDonald Hughes follows six students (aged around 15-16) in a unit-classroom as they deal with the stabbing of a schoolmate. This leads to Mia stabbing her teacher in the first scene as the play attempts to explain why this happened, exploring who these young people are.

The play suffers from the use of stereotypical characters who possess little depth and writing that feels lazy. As though students are chucked in a unit and that will justify the stabbing, but it doesn’t. Even within their backstories, their presence in the unit is not justified.

As it is, the play feels it would be more interesting placed in a standard classroom as the play currently comes across as a series of events that are mostly irrelevant or insignificant, particularly given the moral protection of the unit.

The flow is constantly interrupted, and it moves too fast without allowing time to explore the characters. There are a few breaks that offer potential such as Tina’s boyfriend breaking up with her or a flashback to the start of Mia and Grace’s early friendship. But even these scenes show very little emotional intrigue.

There is no overriding story, really, besides the two stabbings. The backstories cover most of the play, but these are stereotypical. Parents who argue, a young pregnancy, an ill mother, and so on. These backstories are not unique, offer little significance and just when you’re expecting something to tie it all together, they look at some turbines, say they feel calm, and nothing happens.

Moving onto the turbines, the title of the play and the key piece of symbolism provided. Trying my hardest to drag something out of this, I would say that the turbines are meant to represent serenity and persistence in a tough environment. A symbol that allows the students to express. The rotation of the blades also possibly referring back to the cyclical nature of knife crime. The symbolism is somewhat tacked in and unclear, with potential it’s just not reaching.

Turbines explores multiple possibilities that can happen when the major event, the stabbing, occurs and explores how that might affect their lives differently. It’s also unclear which of these is the ending or if the writer wants there to be one specific ending. Perhaps not an issue for where this piece was imagined to be but given that it appears to try to question why this stabbing might occur, the lack of a definitive ending is a problem.

I can see where this play goes wrong in the writing process, as it has a singular focus at its core and fitting that to a cast of seven is hard. It centres around Mia and everyone else is basically irrelevant. And if that is the aim, then why bother with 90% of the rest of the play? There is potential there for a good play about Mia. But it needs expanding, focusing and lots of cutting.

I just struggle to see how a play produced in collaboration with Paines Plough could be quite this underdeveloped. My guess is that the writer wasn’t afforded the time or support necessary for this piece to succeed. I don’t think you can pin the play’s failures solely on such a talented and promising writer.

Emily Ling Williams direction just falls a little flat. There are attempts at characterisation through the acting, some of which work, some don’t. The tone and pace are not handled particularly well, however this is quite hard as the story beats are all over the place. It’s a tough play to direct, but Williams stumbles to raise the bar for the production.

Rocky Hood’s lighting works well, very understated, but is one of few positives from this production. The sound design from Jack Lancelot Stewart is fine. It’s nothing exceptional and sometimes intruding, but decent overall.

Clare Johnson’s set is a little clunky and often gets in the way, although does a good job of establishing location. The fans, representing wind turbines, just look tacky and don’t work.

The performances from the cast of seven are all decent. But really, most of the actors don’t have much to play with. There are clearly attempts at characterisation made by the actors with the director. Amesh Edireweera’s mannerisms as Liam, Finnian Garbutt’s boyish immaturity as Reece and Nina Bloomgarden’s grace as Grace all stand out as expansions on the script.

Unfortunately, the school teacher, portrayed by Lilly Tukur, Jack (Harry Heap) and Tina (Julie Lamberton) are all pretty much unsavable. The performances are good for the most part, given what they had, but they really deserve better.

Abbie Hern stands out as Mia. Her character has the most substance and is the most explored. Hern rises to this and delivers a great performance which is one of few shining lights in this production.

Turbines examines young people and their actions in what is an underwhelming production that can’t be saved by its strong cast.

Turbines performed at The Bute Theatre, Royal Welsh College of Music and Drama
19 – 21 March 2019 in Cardiff
Transferring to The Gate Theatre, London, 2 – 5 April
Written by Sarah McDonald Hughes
Directed by Emily Ling Williams
In Collaboration with Paines Plough
As part of RWCMD’s ‘NEW’ Season
Starring:
Abbie Hern as Mia
Nina Bloomgarden as Grace
Finnian Garbutt as Reece
Amesh Edireweera as Liam
Julie Lamberton as Tina
Harry Heap as Jack
Lilly Tukur as School Teacher
Production Team:
Set & Costume Design: Clare Johnson
Lighting Design: Rocky Hood
Sound Designer: Jack Lancelot Stewart
Assistant Production Manager: Alexandra Drescher-Elphick
Stage Manager: Jessica Forella
Deputy Stage Manager: Cara-Megan Rees

Assistant Stage Manager: Amy Hales
Design Assistant: Rachel Merritt
Technicians: Ella Cunnison, Kitty Dunning, Jamie Holden  and Paul Kaiba
Venue Technician: Evie Oliver
Supervisors: Kristy Bowers, Rob Clarke and Laura Martin

Review: Camp Be Yourself at The Other Room by Gareth Ford-Elliott

4 out of 5 stars (4 / 5)

As we enter the space at The Other Room, we are greeted by Betty Walsh (as Betsey) and Emilia Stawicki (Emily). They remind you that your alcohol is apple juice and, as the play starts, that you, the audience, are a group of ten-year-old girls, arriving at Camp Be Yourself. Also, to stay inside the red-markers because there isn’t (but might be) the threat of bears.

What follows is an organised and hilarious mess where two characters, Betsey and Emily, are exploring what it is to be an adult, whilst they’re supposed to be running a camp.

Delusions of grandeur, suppressed insecurities and the absence of a mother drive Betsey’s character. Whilst Emily is nervous, repressing emotion, unsure of herself and eager to impress.

The performances of both characters are hilarious and relatable. Both Walsh and Stawicki are great comedic performers, exploiting the use of facial expressions and mannerisms expertly. They both perform with conviction and full knowledge of their characters who are instantly recognisable, but leave room for growth.

Whilst a lot of that growth and conflict is subtle, it’s presented clearly and naturally throughout. Everyone leaves the theatre sure of who these women are, what issues they have whilst having a good laugh along the way.

The writing is more sophisticated than you might expect. It’s well-structured, the characters have real depth and there’s natural conflict which builds very convincingly.

The writing and performances from Stawicki and Walsh deserve huge credit for achieving this.

The fact that there is a non-binary character (Billie) referred to throughout the play may go unnoticed by some but definitely deserves a mention. It’s nice to have a non-binary character where their gender doesn’t affect the plot, they’re just a normal person and that’s okay.

The pop-culture references provide a fair amount of comedy throughout. The few references to Tiffany Trump, in particular, are great. The use of music too is really funny. Michael Sambello’s ‘Maniac’ used for a dance-break reminded me of American Pie, when they use the same song for a dance-off. That made me chuckle, along with the use of PTAF’s ‘Boss A** B*tch’, which I recognised from the first drum-beat.

It certainly helps that the references and comedy generally fit my personal sense of humour. Betty Walsh’s character in particular I liked. It reminded me of Ja’mie King from Summer Heights High or a female David Brent. My worry is that perhaps this won’t appeal to an older audience. But a lot of the comedy does come from tried-and-tested means, is fairly intellectual and very self-aware (even if the characters aren’t).

The play touches on various themes, such as; adulthood, sisterhood (in a friendship sense), motherhood, childhood (in particular, how that affects us later in life), responsibility and insecurity. What is really nice about this play is that it doesn’t try to answer any questions, it merely explores the characters and themes in a comedic way and leaves room for you to think further. Both characters have a lot of depth and we explore that through comedy rather than a dramatic exfoliation of their personal history. This works really well and is really satisfying and refreshing to see.

Camp Be Yourself is a must-see, hilarious hour-long exploration of two very different women and their ideas of adulthood.

Camp Be Yourself is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets can be found for this and other upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.

Camp be Yourself at The Other Room, Cardiff
20 – 23 March 2019
Presented by Box. Theatre Company
Created by Emilia Stawicki and Betty Jane Walsh
Starring:
Betty Jane Walsh as Betsey
Emilia Stawicki as Emily

Review MACBETH, National Theatre at Wales Millennium Centre by Barbara Michaels

Play by William Shakespeare

Director: Rufus Norris

Reviewer: Barbara Michaels

4 out of 5 stars (4 / 5)

Reviled by many as one of Shakespeare’s more unpleasant plays, and referred to by thespians as ‘The Scottish Play’ because of its reputation for bringing bad luck to performances, Macbeth is open to a huge range of interpretations on account of its deep psychological reference.  Rufus Norris’s interpretation of Shakespeare’s work balances this with an urban modern setting that screams disruption and corruption in high places from start to finish.

For those unfamiliar with the play, Macbeth is a soldier whose wife’s aspirations of greatness proof to be his downfall.  Returning after a successful battle, he meets a coven of witches who predict his speedy promotion and ultimate Kingship.  On arriving home, Macbeth tells his wife, who informs him that Duncan, the present King of Scotland, will be visiting and staying the night – giving an ideal opportunity for the skulduggery which is necessary i.e. the King’s murder. One killing leads to another as both the Macbeths become victims of a bloodlust that lead inevitably to their downfall.

Played out against a forbidding darkly lit set which hardly changes throughout, this production focuses on making Shakespeare’s work compatible with contemporary times, with the obvious intent of the original text becoming more accessible to present day youth.  In this, the National Theatre’s most recent version of Macbeth, it succeeds brilliantly. The parallel with the knife crime so prevalent in today’s society is evident. The fights are, at times, almost too realistic Costume designer Moritz Junge dresses the soldiers including the main protagonists Macbeth and his rival Macduff in combat uniform, while Lady Macbeth is seen in jeans and T-shirt. Set designer Rae Smith uses a steeply sloping ramp for much of the main action in a stark setting.  Even the banquet in Macbeth’s castle is an austere affair.

. BUT – there is a caveat. Some of the poetry and fluency of the memorable speeches is lost, or drowned out by overloud music which adds to a cacophony of sound in some scenes.   And did the three witches really have to climb poles? Having said that, the pluses in this production by the prestigious National Theatre are many. Overall this is good theatre, due in no small part to the acting of Michael Nardone, who projects as a Macbeth in emotional torment yet unable to resist the possibility of ennoblement and its accompanying riches and the blandishments of his evil (soon to become deranged) wife, with disastrous consequences. Kirsty Besterman plays Lady Macbeth as a malevolent sex kitten who has no scruples in using her bedroom wiles to persuade her husband to embark on a wicked course that will lead to his destruction. Norris tackles the wickedness head-on – literally. (Forgive the pun – beheading is part of the on-stage action).

As for light relief:  there is not much of that around, but what there is gets its full due in the hands of Deka Walmsley whose spot-on timing and comedic touch provide a most welcome moment of lightness in this searingly dark tragedy, giving rise to appreciative chuckles on the night reviewed. A welcome moment of respite from the relentless discords of a brutish production that demonstrates that, while we may stop short of beheading in today’s society and guns have replaced swords, in some respects – you have only to consider the fighting in Afghanistan and Syria, for instance – the similarities with our own times are all too apparent.

Runs until Saturday March 23rd.