Tag Archives: Cardiff

Theatre, Uncategorized

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

Leave a comment

out of 5 stars (5 / 5)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Theatre, Uncategorized

REVIEW: TURBINES at RWCMD by Gareth Ford-Elliott

3 Comments

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

Theatre

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

Leave a comment

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

Theatre

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

Leave a comment

Play by William Shakespeare

Director: Rufus Norris

Reviewer: Barbara Michaels

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.

Theatre, Uncategorized

REVIEW: JUST A FEW WORDS at The Other Room by Gareth Ford-Elliott

Leave a comment

out of 5 stars (4 / 5)

Just a Few Words explores the psychological and emotional impact of having a stutter. How that affects your everyday life and indeed, your love life. We follow our protagonist (Nye Russell-Thompson) as he struggles to tell the woman he loves how he feels.

I’d heard a lot about
this piece and my main worry going in was that the writing would be structured poorly.
This isn’t a worry that need be had. The writing from Russell-Thompson is
brilliantly structured as we follow the protagonist’s journey through his mind,
preparing what to say.

Just a Few Words is
frustrating at times as a slow-moving piece of theatre, deliberately so. This
allows the audience to imagine, if not feel, the frustration that can be felt with
a stammer. Not to pity but understand. You never feel sorry for the character
which is a real strength of the piece. He feels like someone going through
something which is presented as normal and relatable.

A one-man-show created
and performed by Russell-Thompson, you can’t help but notice how this is more
real to Nye than it would be to another actor. Even without the knowledge of
who he is. This is a credit to his abilities as an actor, but also serves as a
note to organisations who don’t hire disabled actors to play the roles their
disabilities represent.

The debate about
stammering being a disability will continue, a debate I’m not qualified to
comment on and one this production doesn’t claim to solve. But what this play does
present clearly is that Just a Few Words is
stronger because of Nye’s personal performance. And it is the character’s
emotive story that is the main strength of Just
a Few Words.

The music and sound utilised in the production are excellent. From stuttering on an Otis Redding love song played on a record player in the beginning, to a grainy, static from said record player that runs for the entirety of the play. The sound is simple but adds a huge amount to the ambiance.

The minimalist set is great too. A record player in one corner, a table in another and the use of pre-written cards which act as subtitles for our protagonist’s thoughts that scatter around the stage complete the show and makes it everything fringe theatre should be.

Just a Few Words is an excellent and relatable portrayal of life with a stammer, blending a beautifully minimalist approach with powerful writing.

Just a Few Words 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 the
upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.

JUST A FEW WORDS performed at The Other Room
13th February – 16th February 2019
Presented by StammerMouth
Created and Performed by Nye Russell-Thompson
Stage Manager: Megan Randall

Theatre, Uncategorized

REVIEW: BLUE at Chapter Arts Centre by Gareth Ford-Elliott

Leave a comment

out of 5 stars (5 / 5)

Blue is a powerful drama set by the Welsh, Carmarthenshire coast which centres around the Williams family dinner in the looming absence of a father figure.

The play starts when daughter Elin brings former teacher, Thomas, home to sleep with him. However, to Elin’s surprise her brother is in and her mother home early. A confusion over Thomas’ presence ensues and drives the play forward.

Thomas finds himself awkwardly
caught in a family argument under tragic circumstances but is ultimately the
trigger for improvement and progress amongst the family.

The writing from Rhys Warrington is brilliant. Meticulously paced and incredibly detailed, the script starts out light-hearted and funny but as it progresses, and delves deeper into the characters, we notice something isn’t normal. At no point does anything feel forced, the play flows naturally and develops with great care.

Blue is subtly political in talking about lack of funding for the NHS. But doesn’t stray from the importance of the characters involved whose lives are being ruined by these cuts.

It’s fair to say, Rhys
Warrington is off to a great start with his first feature-length play and I can’t
wait to see what he writes next.

The direction from Chelsey Gillard is simply stunning. Every aspect of the script is explored diligently. This play could have been easily mismanaged but Gillard controls it masterfully. Beautifully allowing performers time to draw scenes out and the design elements to set the scene. Chelsey Gillard is forging a name for herself as one of the pioneering directors of contemporary Welsh theatre and her achievement with Bluehas only boosted that claim.

The performances are exceptional
from every performer. Sophie Melville is brilliant as Elin. Proving once again
what a talent she is, Melville encapsulates the final stages of teenage angst
with growing mid-20’s maturity brilliantly.

Gwydion Rhys plays Elin’s shy brother, Huw, expertly. His eyes lighting up the moment Thomas asks about Minecraft. A heart-breaking and simultaneously heart-warming moment as it’s clear this is the first time someone has taken an interest in his interests outside of his online alternate-reality. We can all relate in some way to Huw and Rhys’ portrayal is a testament to this.

Jordan Bernarde’s performance as Thomas is handled with as much care as the character is attentive to the others. We can sense Thomas’ awkwardness and even though we’re aware he’s really there to sleep with Elin, we see his kind-hearted nature too. It’s only when Thomas exits the play that you realise the impact Bernarde’s performance has on the production.

Choosing a standout performance is near-impossible, but if we are to do so, it has to be Nia Roberts in portraying the matriarch figure, Lisa Williams. Everything is perfect from Roberts in this performance. At the mention of her husband, everything about her character changes, from tone to body-language – perfect. This performance will standout as one of the best in Wales this year.

The sound design from Tic Ashfield is very understated and effective. The sound mostly soothes into the background, almost unnoticeable if you’re not looking for it – but is powerful and essential to the production.

Oliver Harman’s design is
simple and functional. Detailed to what one would expect any living/dining room
to look like, with nothing left to waste. The blue door is, in particular, a
nice touch.

Ceri James’ lighting is an essential tool for setting the mood, which James does excellently. Subtly changing throughout and providing a nice alternative to blackouts between scenes which is specifically good. The slight blue tint in some of the lighting is also lovely.

It’s frustrating when a production leaves the design elements as an after-thought and whilst it’s very subtle in Blue, the design, on all fronts, contribute hugely to Blue’s artistic success.

It’s important to stress what a team effort this production is. Huge credit must also go to Rebecca Jade Hammond for creating and producing this piece, as well as all involved at Chippy Lane and Chapter in the making of Blue.

BLUE is
a heart-breaking drama about a family split in their grief of a father figure
who is both no longer present and not yet absent.

BLUE performed at Chapter Arts Centre, Cardiff
World Premiere 5th – 16th February 2019
Running time approximately 90 minutes
Created and Produced by Rebecca Jade Hammond
Written by Rhys Warrington
Directed  by Chelsey Gillard
Cast:
Elin – Sophie Melville
Thomas – Jordan Bernarde
Lisa – Nia Roberts
Huw – Gwydion Rhys
Designer: Oliver Harman
Lighting Designer: Ceri James
Sound Designer and Composer: Tic Ashfield
Dramaturg: Matthew Bulgo
Co-Producers: Chippy Lane Production and Chapter
Stage Manager: Bethan Dawson
Production Assistant: Sophie Hughes
BSL Interpreter: Sami Thorpe
Photography: Kirsten McTernan
Marketing and PR: Chloe Nelkin Consulting & PR

Music, Musical, Theatre, Uncategorized

REVIEW: Laurie Black: SPACE CADETTE at The Other Room by Gareth Ford-Elliott

Leave a comment

out of 5 stars (3 / 5)

Laurie Black is sick of humankind and decides to take us on her journey to be the first woman on the moon. A contemporary cabaret show that showcases Black’s musical and comedy abilities through her quirky, green alter-ego (who might not be an alter-ego).

Black takes us on her journey
escaping Earth and encountering David Bowie’s alien spaceship (yes) before
landing on the moon. The journey, which takes three-days but feels like an hour,
is a fairly simple one as far as plot goes but exists to give context and thematic
links to the main event of comedy and music.

Black’s music is a varied mix of genre that, for the most part, has a somewhat futuristic feel. She exploits the sounds of synths, piano and a small drum machine well on stage. But, it is Black’s enthralling voice which captures the audience the most. Not relying solely on her voice however, Black is also a great songwriter using witty pop culture references, the occasional political statement and comedic wordplay.

Mostly original music,
there are some covers of popular songs in Space
Cadette. Starman by David Bowie stands out as a strong point where the
audience are encouraged to sing along with the “la, la, la”s. There are also covers
of Radiohead, Muse and Leonard Cohen as well as a funny reference to The
Proclaimers.

The comedy and storytelling that comes between the songs was usually good. Nothing to make you belly-laugh, but enough to keep you interested. It is fair to say also, that the comedy suffered due to the low turnout on the night. Some jokes are sleepers which will have you chuckling two-hours after the show as you walk home in the rain – which Black correctly predicts.

The stage set-up is simple.
For the most part it’s just a microphone stand and a piano. This worried me at
first, but as the show goes on, it isn’t an issue as Black keeps the attention
on her. Except for one moment when she gets out her mini-moon that she passes
around the audience.

There’s a lot of frustration in the show that gets channelled into humour and songs. On Black’s journey to the moon, we see further into her persona and whilst the outer-shell is hard, by the end we can tell she secretly loves us. There’s no particular agenda to the piece but an overriding theme of frustration at the current state of the world.

Space Cadette is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over the next eight weeks. Tickets can be found for Space Cadette and other Spring Fringe shows HERE, with an ever-growing discount for the more shows you book. If you can’t make the show, but like the sound of Laurie Black, you can find her music on most streaming services online.

Space Cadette is
an enchanting, funny cabaret show from Adelaide Fringe 2018 winner, Laurie
Black. An exploration to the moon that has so much to say about Earth.

SPACE CADETTE at The Other Room, Cardiff
5th February – 8th February 2019
Created and performed by Laurie Black
Technician: Garrin Clarke

Theatre

Review: BOOT by Phill Brewer at The Atrium by Gareth Ford-Elliott

Leave a comment

out of 5 stars (3 / 5)

BOOT by Phill Brewer, the debut production from Volition, is a chilling exploration of events in its protagonist’s story. Refusing to adopt a chronological form, Brewer’s style of monological storytelling perfectly matches the harsh world and erratic character he creates.

In essence, it’s a romantic tragedy that follows a man who, rightly or wrongly, can’t let his love for a woman go. He goes to extreme lengths to protect her physically and emotionally, sacrificing himself in the process.

A lot of people would portray this as a classic showing of toxic masculinity. With the violence, male entitlement and refusal to show weakness – it certainly can be interpreted that way. However, Volition’s aim is to represent a character’s voices, in their own words, and present them to an audience. Allowing the audience leave with their own opinions of that situation.

On the other hand, whilst BOOT has those classic tropes of toxic masculinity, the protagonist doesn’t gain from the situation. It’s a character who is as much a victim of circumstance, as he is of his own actions. Seeing it through his words, we see his perspective and reasoning, rather than simply blaming toxic masculinity.

You can read it in many ways, or merely as the story without the social-political views. It’s this viewing experience that separates Volition from various various other theatre companies. Often people ask, “what is the message?” Whereas for Volition it’s more, “what did you think?” It’s a really fresh take for modern theatre that seems to be obsessed with artist’s voices and messages – not that there is anything wrong with that, but certainly room for both.

The play starts in the boot of a car with the male protagonist and that is where it ends. The writing from Phill Brewer is smart in its aim to present the protagonist’s story in his own words, as in between the bumpy ride, we see the turbulent story that brought him to this position.

It starts at the right place, hits the right notes throughout and ends leaving you with the perfect balance of satisfaction and intrigue.

There is room for it to grow as a script. Generally some sharpening and a little addition of humour wouldn’t go amiss to help bring out the character. But overall it’s a really solid script with massive potential.

Written as a monologue, Rebecca Riley makes a good decision as director to perform this as an ensemble piece which brings the script to life really nicely. It’s paced well with the only real issues being minor blocking ones and, at times, an issue of tone.

The play starts at 100, with the protagonist freaking out. This just feels a bit intense to start and, whilst it makes sense, could do with some work as it somewhat kills the opening ten-fifteen minutes. Especially as we never really build back to that level.

The direction of the ensemble is really nice from Riley, who uses physicality beautifully to add to the piece.

The acting from lead, Connor Hughes, is strong. The moments of clear emotion are great, but Hughes does a good job of also showing what’s bubbling underneath. Because of this, it’s really easy to know what the character is feeling and everything from the script makes sense on stage.

The ensemble generally do a good job of bringing the piece to life and really help with the pacing of the script. There are a few instances of over-acting from the ensemble members, which may well be a directing issue, that sometimes takes focus away from the lead. But, overall a good addition to the production.

BOOT shows a level of lighting design I was not expecting coming in. The use of red lighting is really evocative, as well as the box light to represent the boot of the car. In this aspect, Zach Ashley did a really good job.

It is a shame there isn’t more explored in the sound design. This can be put down to lack of resources and time. However, often the noise of moving ensemble takes away from the show. More sound design could cover this and add something of its own. But generally, the design aspects are above expectation.

There is room for improvement with this production, especially in nailing the ensemble work, a little work on the script as well as incorporating the design elements that feel missing. But, on the whole this is a really enjoyable piece of theatre with a really interesting discussion to follow it.

BOOT has real potential, perhaps let down by the lack of time and resources afforded to it. A great script, visionary director and a solid lead make this a really promising debut from Volition.

BOOT performed at The Atrium, Cardiff
From December 11th-12th 2018
Presented by Volition
Written by Phill Brewer
Directed by Rebecca Emily Riley
Stage Manager – Zach Ashley
Cast:
Connor Hughes
Tasha Walton
Sergio Taddia
Tilly Jordan
Jose Pedro Fortuna
Photo Credit – Adam Robinson

Theatre

Preview: BOOT by Phill Brewer and Volition

Leave a comment

Boot by Phill Brewer is a new play coming to Cardiff on Tuesday 11th and Wednesday 12th of December 2018. The debut production from new theatre company Volition, will be performed at The Atrium.

Set in Swansea, Boot follows an unnamed man trapped in a car boot who ponders over the events in his life that led him to this position. It’s a dark comedy that studies one man’s inner conflict and ambition in an ever changing world, presented as a mix between gritty realism and abstract physical performance.

Originally performed as a one man show at a sell-out performance in Matthew’s Yard, Croydon, Boot has since been developed by Brewer and reworked into an ensemble piece by Rebecca Riley (director).

The inspiration for some of the stories and scenes come from things that Brewer has witnessed in his time growing up in London. Some personal experience, stories from friends and general experience from the streets of London.

The aim of the piece is to present the story and let the audience decide for themselves the morals of the situations. Both Brewer and Riley say they want the audience to leave divided and talking about the show.

“BOOT is the perfect piece of writing to work on for me as the character is both the antagonist and the protagonist of his own story. His
battle is one of inner conflict, something that is universally relatable.” – Rebecca Riley, director.

The company, Volition, is made up of Phill Brewer and Rebecca Riley. Long-term friends who studied theatre together at Brit School of Performing Arts and Technology and now live in Cardiff.

The aim of the company is to provide a voice and platform for young people whilst creating theatre that is ambiguous, not making comment or judgement.

Rebecca Riley (centre) and Phill Brewer (right) with lead actor, Connor Hughes. Photo Credit Adam Robinson

 

 

 

 

There is a rebellious vibe about the company – but one that is very open to discussion and passionate about theatre as a means for discussion. Boot seems the perfect place for this exciting new company to start and the audience are key to their work so get your tickets here to be part of it.

BOOT performed at The Atrium, Cardiff
From December 11th-12th 2018
Presented by Volition
Written by Phill Brewer
Directed by Rebecca Emily Riley
Stage Manager – Zach Ashley
Cast:
Connor Hughes
Tasha Walton
Sergio Taddia
Tilly Jordan
Jose Pedro Fortuna.

Theatre

Review: Humanequin at Wales Millennium Centre by Gareth Ford-Elliott

Leave a comment

out of 5 stars (3 / 5)

Humanequin by Kelly Jones is a groundbreaking collection of three stories from young transgender people in South Wales. It is raw in its monologue format and informative in its direct approach.

The stories come straight from real life and that reality is enhanced by having three transgender actors on stage. The fact that Humanequin is the first transgender play, with an all transgender cast performed in Wales, makes it truly groundbreaking. And the production is stronger for it.

The thing with this production is, it isn’t necessarily about the theatrical quality, that I am reviewing here. It is much more about what we as an audience take away from it. This is about telling and normalising the stories of transgender for the people of Cardiff and wider society. So to start without mentioning that would be a disservice.

The direction of this production from Jain Boon could be stronger. There is some nice blocking and movement in this piece. And moments that are strong. But overall, it lacks the intensity necessary for a piece like this.

Sammy Woodward stands out as the actor with the most emotional range and they really feel in the moment with their character. Emily Joh Miller grows into her performance whilst Harry Bryant keeps a steady pace throughout. The three work quite well together, but there is that lack of intensity and chemistry between the three.

Georgina Miles’ set design is simple, yet effective. The most prominent pieces of set are some blocks and three metal grates that get moved around to change the setting. There is also a tree with tags for leaves. On these tags are written names of trans people who have been lost over the years. This tree is a really nice touch and whilst not actively used in the performance, watches over the actors and certainly adds a lot. The set is nothing extravagant, but effective in its job.

Chris Young’s sound design is really complimentary to the production with Ceri James’ lighting design representing the emotion of the piece well. The main criticism for these two is there isn’t enough. At times these aspects of design are really strong, but in others they are absent, in a way that doesn’t translate well.

As a cis woman, Kelly Jones takes on a big task of writing for a group of people we very rarely hear about. But, a task she handles well as far as the content goes.

It’s more Jones’ playwriting that lets her down. It’s not a bad script by any means, and as a piece that is ultimately meant to educate, it does a very good job. But as a compelling piece of drama it is lacking.

The three intertwined stories told as monologue is a form I personally love, but here it doesn’t work for some reason.

Characterisation also gets lost in an attempt to normalise the characters. Aspects of their personalities seem trivial. As well as this, some of the politics is very on-the-nose. Not an issue in itself, but again, it just doesn’t feel right here. It seems forced. Something that is maybe necessary for the piece, but needs to be worked into the production in a stronger way.

One decision made in the writing process that was really good, was to not make every story all “doom and gloom”. It would be easy to make this a sympathetic piece of theatre that looks at the struggles of trans people with the far too often real life consequences. And that reality is not ignored here. But neither is the reality that these are people. They act out, they do things that seem irrational at the time. But like any good playwright, Jones examines and explains them by the end of the story.

Perhaps in another performance context such as being held in a different venue, at an earlier time, in a school or university, as part of an education programme or whatever it is, this could be a fantastic production. And for people who know little about trans-issues, this would certainly be a very informative and emotional way to be introduced to these issues. So that must be commended. But, for the audience that, on the night I was there, seemed very clued up on these issues, it perhaps lacked the dramatic value that we go to the theatre for.

Not necessarily to be entertained, but to leave having found or felt something. And whilst for an audience without knowledge of trans-issues, this would be great. For those with that knowledge, it doesn’t offer much.

If this piece moves forward, the decision needs to be made whether this is an educational piece or a different form of theatre. Because both have their place and both are necessary for the growth of trans-theatre and the awareness of trans-issues in wider society. But this just feels like it’s biting off more than it can chew.

Humanequin is a strong, educational piece of theatre about the experiences of young transgender people in South Wales. Its flaws pale in comparison to its importance.

Humanequin by Kelly Jones
Performed at the Wales Millennium Centre
Presented by Mess Up The Mess Theatre Company, Youth Cymru and TransForm Cymru.
Performed by:
Sammy Woodward as Rae
Harry Bryant as Max
Emily Joh Miller as Meg
Directed by Jain Boon
Designer: Georgina Miller
Sound Designer: Chris Young
Lighting Designer: Ceri James
Stage Manager: Katie Torah
Technical Assistant: Dawn Hennessey
Producer: Jay Smith
Creative Assistant: Kay R. Dennis
Community Artist: Bill Taylor-Beales
Education Producer: Rachel Benson
Artistic Director for Mess Up The Mess: Sarah Jones