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Barbara Hughes-Moore interviews Rhys Jennings on When Darkness Falls

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Get the Chance Community Critic Barbara Hughes-Moore speaks with actor Rhys Jennings, who is part of the touring cast for the When Darkness Falls. This spooky stage thriller is written by James Milton and Paul Morrissey, and is based around the legend of ‘Guernsey’s Ghosts’. The show is playing at the New Theatre Cardiff from 11 – 15 October (you can find out more about the production and book tickets here). Rhys chats about understudying the two lead roles, how the cast keeps it fun behind the scenes, and why you might just walk away from the show believing in ghosts yourself…

This interview has been edited for clarity.

Thank you for taking the time to sit down and speak with me today, Rhys.

Thanks, Barbara!

Tell us a little bit about When Darkness Falls.

When Darkness Falls is a two-hander ghost story set in the modern day but which brings up lots of stories of the past and hauntings and ghosts. It’s set on the island of Guernsey, so it takes all this local mythology and weaves it into a two act play over the course of one night. It aims to provoke debate about what ghosts are and what the paranormal is, but also with a few scares. It’s good fun!

So what is your role in the play and how did you get involved?

So I have a very interesting role. As I said, it’s a two hander and I am the solo understudy in this show. So it’s your classic two hander where you get an older and a younger actor so they needed someone halfway between through the two! It’s a very odd experience, actually: I’ve done a lot of understudying before, but this is basically an entire play, and you’re always on edge in case someone gets ill or is off, and up you go with not much rehearsal.

It’s really interesting, and it’s lovely to be part of such a small company as well, this is a very tight-knit group of people. We’re only a few weeks into the tour at the moment and everyone’s very close, and it’s a really fun company to be part of.

Peter Duncan and Daniel Rainford in When Darkness Falls

How do you manage to keep it fun behind the scenes when you’re in such a scary show?

I think the guys have really managed to just enjoy the text of it, because there’s lots of storytelling which could easily become very drab and dreary. It’s about two people interacting with one another, and how a story can trigger more memories. It’s been really fun to be part of that process and to be able to offer some input as well to the guys as they work.

Do you have a favourite role out of the two?

It’s tricky! Peter Duncan, who is famous for many things but many have a soft spot for his Blue Peter days, is playing the older part, and there’s an incredible young actor in his 20s called Daniel Rainford. So I think perhaps you’d put me in the younger part but I’m looking forward to one day playing the sort of roles Peter Duncan does. I do overall prefer the older role that is a storyteller and who has a bit of a mental breakdown throughout the course of the night. That’s more interesting to me, I think.

Have you performed at the New Theatre before?

I’ve performed in Cardiff before but never at the New Theatre! I’m really looking forward to coming to Cardiff, because I trained at Royal Welsh College of Music and Drama. It’s really nice to make a return visit because I haven’t done anything that’s come back to Wales for a good few years. I’m really excited to show the guys in the company around Cardiff.

Daniel Rainford and Peter Duncan in When Darkness Falls

What do you think Welsh audiences will take from the show?

While it’s set in Guernsey, it has a similar bucolic, rural feel and a lot of similar folklore and ghost stories. I think Welsh audiences will enjoy it for that. It’s quite a universal debate the characters are having over the course of the evening about what a ghost is: sometimes it’s repressed trauma and guilt, so a lot of that is very universal. It’s an interesting thing to watch.

Without spoiling anything, is there a particular moment you would want audiences to look out for?

That’s a really good question, because it’s one of those plays where audiences might think they know what’s going on – but if they pay attention they’ll be able to see the ending. It’s a bit like an Agatha Christie mystery: if you’re canny enough, by the end you get that real satisfaction of figuring out the ending. So listen and see if you can pick out a few of those themes that are repeated. Do a bit of detective work as an audience!

That’s a great challenge to give audiences! What do you think the secret is to make a good thriller in the theatre?

It is tricky! I think it’s all about suspense and rhythm, and also having two little stories going on: one where the audience might know a little more than the characters at certain moments and vice versa. It’s about who has the information, and you can gift that to an audience, make them feel that they know something that even the characters don’t. That can be really exciting for a thriller. Or you can have an object that has been in the background the whole play, and eventually pays off – in fact, we might have one of those in ours!

Peter Duncan and Daniel Rainford in When Darkness Falls

The last ‘spooky’ show I saw at the New Theatre was Ghost Stories, which was also made into a film – I didn’t sleep for a month!

I was involved in the film! I had a very last minute call from my agent asking me to fill in for an actor on the day of the cast readthrough. I’m still fairly early in my career, and I’m not in the finished film, but I was reading lines with Martin Freeman and all these amazing actors. I don’t know how I managed to get a ticket into that room, but that was a great experience.

So you were like a ghost: an unseen presence that kept the whole thing going?

Yes! I like the acting profession for all these strange little moments you have – it’s never boring. I straddle a bit of writing, a bit of acting and voiceover, and I like constantly dipping my toe into different things. You get all these strange, wonderful little anecdotes.

Does being involved in such different mediums – film, voiceover, theatre – give you different shades of ‘acting’?

Yes, and the things you learn from one thing help you in another. I got very into puppetry for a while and toured the world doing it, and it’s only much later when you’re doing something more text-based, that you suddenly realise the connections. Through the course of your career start putting things together in unexpected ways. It’s really fun. We’ll be performing in Guernsey a couple of weeks after Cardiff, and it’ll be interesting to see what different audiences react to. Different places have a different sense of humour. I’m really excited to see how Cardiff audiences will respond to it!

Daniel Rainford in When Darkness Falls

Is there something that really surprised you about being part of this show?

In the early part, I thought it was going to be very lonely as there’s not many people backstage. And while it can be lonely at times, I’m surprised by how much warmth and humour there is; a real camaraderie to the show and I feel very included in that. Theatre can sometimes be quite hierarchical: my first job was understudying in a show that had enormous stars all the way down to new graduates fresh out of Drama School, and there was quite a lot of hierarchy to that. Here, though there’s a difference in age between all of us, it feels like we’re working on this together. Especially after everything we’ve been through the last few years, it’s nice to be part of a family again.

What’s it like working with a household name like Peter Duncan?

I’m not quite in the generation that grew up with Peter, but in my generation of Blue Peter presenters they would talk about his adventures, like him scaling Big Ben. There are lots of stories and ancedotes that Peter is just brilliant at: listening to him, you get the sense that Peter would go over to someone and say ‘I’ll give you a Blue Peter badge if you help my friend’. It feels like a skill we could all do with!

What’s coming up for you after this tour?

I’ve spent a long time writing a musical called The Wicker Husband, which opened at the Watermill Theatre earlier this year, and hopefully it will have a future life as it’s a beautiful thing. Do keep an eye out for it: it’s about an old basket maker deep in the swamp who weaves creatures out of wicker who come to life, and he weaves a beautiful husband for a girl who everyone thinks is ugly, so much so that she thinks herself that she’s ugly. Throughout the course of this beautiful musical, she learns that there’s no such thing as ugly; that ugliness isn’t something you can see.

Three words that sum up When Darkness Falls for you.

Surprising, suspenseful, curious.

Do you believe in ghosts?

Do you?

Yes.

Do you really? That line actually pops up in the play.

Do you think that audiences will believe in ghosts after this show?

I think those that are skeptical will be more open to the idea that ghosts can mean. ‘What are ghosts?’ is an interesting question to go in with.

Thank you, Rhys – we can’t wait for the show!

Opera & classical

Review BBC National Orchestra of Wales, St David’s Hall, Cardiff, Barbara Michaels

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Piano Concerto No 3 by Sergey Rachmaninov

Soloist: Yeol Eum Son

Conductor: Ryan Bancroft

out of 5 stars (5 / 5)

A star performance of Rachmaninov’s third piano concerto – said to be one of the most difficult and challenging of piano concertos in the concert pianist’s repertoire -by the multi-talented South Korean pianist Yeol Eum Son was the choice of the BBC National Orchestra of Wales for their opening concert of the season. Performed to a packed audience at St David’s Hall in Cardiff last night. (October 6th) and broadcast on BBC Radio 3, what a night it was! A diminutive figure in a black evening dress, soloist Yeol Eum Son gave those fortunate enough to secure a ticket an evening to remember. This powerful concerto, composed in 1909 but not given full acknowledgement until several years later, then becoming increasingly popular in the 1930’s when it was performed to great acclaim by Vladimir Horowitz, was given a supremely sensitive all-embracing performance throughout by Yeol Eum Som.

The opening movement, Allegro ma non tanto, was interpreted with sensitivity and skill, with Yeol caressing the keys as a lover might caress his or her beloved, to change into a powerful full throttle engagement with the keyboard. With her fingers flying so fast that at times the sight of them became a blur, this tiny almost unbelievably slender young woman switched effortlessly from the gentlest of melodies to the powerful octave-spanning moves that make this concerto a concerto to be feared for some soloists., thus making this performance a rare and special occasion. Yeol Eum Son’s ability to control and shape every poetic nuance – much in evidence in the great solo cadenza – plus her fearless and bravura attack on the most difficult of passages is awe-inspiring.

For the Intermezzo: Adagio-un poco piu mosso – a set of variations by the orchestra alone gives temporary rest to the soloist, notable among these at this performance being the short flute solo, performed with feeling despite its brevity, followed by solos from oboe, clarinet and horn. Then the piano bounces back with a powerful yet melodic attack on the keys ferocious in its brilliance, segueing seamlessly into the Finale Alla breve and a vigorous ending.

Full credit to the BBC National Orchestra of Wales under the direction of their leader first violinist Lesley Hadfield. The rapport between the soloist and the conductor Ryan Bancroft, who have worked together many times was extraordinary and no doubt contributed to the high standard of a performance that had the audience shouting for more and bringing the soloist back four times. Broadcast on BBC Radio Three, this memorable performance gave its audience and those who listened at home, a night to remember and an opening night that bodes well for this great symphony orchestra during the coming season.

Please note due to ill health, Barbara reviewed only the first half of the performance.


Coming next:: Mahler’s Symphony No. 9, conducted by Markus Stenz . Thursday, 17/November, 2022, at 7.30 pm at St David’s Hall, Cardiff.

Music, Opera & classical

REVIEW BBC National Orchestra of Wales: ‘Romance & Riots’ at St David’s Hall by Barbara Hughes-Moore

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Cardiff Classical 2022-23 opened with a bang last night at St David’s Hall with two of the most raucous, romantic and indeed riotous concertos of the last century. The opening concert, entitled ‘Romance and Riots’, featured Sergey Rachmaninov’s sumptuous Third Piano Concerto and Igor Stravinsky’s Rite of Spring – two orchestral works by two celebrated Russian composers, written just four years apart, and yet they couldn’t be more different.

Led by American conductor Ryan Bancroft and performed by the BBC National Orchestra of Wales with German-based South Korean pianist Yeol Eum Son, the concert traverses multiple (often contrasting) sounds, rhythms and stories, and paints these classic concertos in gorgeous new colours.  The NOW perfectly captures the dramatic dynamic contrast and sheer epic scale of the music, while Bancroft and Son give incredibly precise, passionate, and characterful performances.

As a conductor Bancroft guides the orchestra through the character and emotion of the piece, making it just as exhilarating a physical performance as it is a musical one. Son is an extraordinary soloist and an immensely expressive performer, drawing the audience in with every movement, from the intense, juddering chords to the glimmering crescendos. There is a real power to her performance that meant that the audience was feeling every note and emotion of the piece right along with her.

And what can be said of The Rite of Spring that hasn’t been said already? As Jonathan James mentioned in an excellent and memorable pre-show talk, to say that the piece caused something of a stir in its 1913 debut is quite the understatement: the avant-garde music – stoked by political and class discontent – caused a riot in the theatre, with the dancers and musicians gamely playing through the mayhem right until the final bars. The piece itself is, as James explained, “order disguised as anarchy”; a volcanic, visceral retelling of a young woman who dances herself to death to appease the gods of Spring. Its epic discordance and jazzy polyrhythms would go on to inspire future composers from Gustav Holst to Bernard Hermann – but the original remains as shocking today as it was a century ago.

This is pianist Yeol Eum Son’s first time working with both conductor Ryan Bancroft and the BBC National Orchestra of Wales. She performs next in Madrid, performing Ravel’s Concerto for the Left Hand in D major on 20-21 October, before heading back to Cardiff’s RWCMD to perform Stravinsky once more – this time, the Firebird Suite – along with pieces by Lekeu, Hirtz, Janáček and Kapustin, which sounds like the perfect complement to tonight’s programme.

NOW can be next seen playing the 1001 Arabian Nights family concerts in Cardiff and Swansea, before performing Bach, Liebermann and Schmidt at the end of the month and Elgar’s Cello Concerto in November. Bancroft next conducts the Malmö Symphony Orchestra in Sweden, playing pieces from Dvořák, Copland and Netzel, the latter two with Peter Friis Johansson on piano.

What a start to the Hall’s 40th anniversary year!

Musical, Theatre

REVIEW The Osmonds: A New Musical, New Theatre by Barbara Hughes-Moore

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For The Osmonds, family isn’t just important: it’s everything.Hailing from a small town in Utah, they shot to the stratosphere during their tenure on The Andy Williams Show in the 1960s and have kept climbing the charts ever since. Having sold over 100 million records, The Osmonds became household names, known for their clean-cut image and teen idol status – and now, Jay Osmond himself is bringing their story to the stage in a brand new musical which is currently touring across the UK.

Directed by Shaun Kerrison and choreographed by Olivier Award-winning Bill Deamer, this “living memoir” charts the rise and fall (and rise again) of the legendary all-singing, all-dancing supergroup. Written and produced by Jay Osmond, who not only played drums in the band but co-wrote and choreographed many of their songs, the musical crams 50+ years and 30+ megahits in just over 2 hours. It’s a nostalgic, whirlwind tour through some of the most memorable tracks of the 60s and 70s, from Puppy Love to Crazy Horses.

Mentored by Walt Disney, Chuck Norris, and Elvis Presley, the Osmonds were finding their feet in the industry at the same time that they were finding their feet as young men. As the Osmonds’ brood grew so did the Osmonds brand, with youngsters Donny, Marie and Jimmy embarking on their own successful solo careers. While family was paramount to them,it wasn’t always easy, as we see from George Osmond’s (Charlie Allen) militaristic parenting style. In a clever twist, the Osmond brothers and their younger counterparts often share the stage here, with the older incarnations of the characters looking back on pivotal moments in their youth and – in one of the show’s most effective and affecting scenes – actually perform a song with their younger selves.

The cast is superb across the board. As Jay Osmond, theincredible Alex Lodge leads the ensemble with aplomb, breaking the fourth wall and bringing the audience in on the jokes and the dance routines. It’s clear that the cast share just as special a bond as the Osmonds themselves: Henry Firth as Wayne (stepping in for Danny Nattrass), Tristan Whincup as Donny (stepping in for Joseph Peacock), Ryan Anderson as Merrill, and Jamie Chatterton as Alan, all bring energy, verve and style to their performance of Let Me In, One Bad Apple, and Yo-Yo. While the set (though eye-catching) could maybe benefit from little more inventiveness, and the pacing could be stronger in parts, the stellar performances make this an absolute must-see.

Georgia Lennon lends a little bit of country to Marie Osmond’s ballad Paper Roses while Lyle Wren performs a hilarious version of Jimmy Osmond’s novelty hit Long Haired Lover From Liverpool. Huge kudos must go to the supremely talented actors playing the young Osmonds: Nicolas Teixeira, Oliver Forde, Jack Sherran, Louis Stow, and Lonan Johnson.Their pitch-perfect harmonies are absolutely sublime, and theduet getween young Donny (Teixiera) and Andy Williams (Dance Captain Matt Ives, stepping in for Alex Cardall) was an adorable highlight. (Ives also plays about twenty other characters, all equally distinct and all equally brilliant).

The sincerity of the Osmonds has always been a key part of their appeal – “we call them friends, not fans”, Jay says – and his decision to premiere the show in the UK was inspired in no small part due to the Osmond-mania that met them in Blighty, with admirers climbing up flagpoles and abseiling down hotels just to get a glimpse of the brothers. And on this particular leg of their UK tour, disaster struck when due to sickness/injury, they happened to be nine cast members down on the opening night of their Welsh premiere (even Jamie Chatterton, who plays Alan, had to be cleared by physio to perform due to an injury). So they had to make a hard decision: cancel the show, perform it as a concert, or put on the show with a reduced cast. The decided that the show must go on – and I’m thrilled that they did, because they gave the performance of a lifetime. If you want to Love Them For A Reason, you couldn’t have a better one.

The Osmonds: A New Musical is playing at the New Theatre Cardiff from Tue 4 October – Sat 8 October

Musical, Theatre

INTERVIEW WITH JAY OSMOND, THE OSMONDS: A NEW MUSICAL UK TOUR

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What follows is Vicky Edwards’ syndicated interview with Jay Osmond.

Jay Talking
They say you should never meet your heroes, but seriously? I mean, asking a 70s kid to interview an ACTUAL Osmond? The guy who sang Crazy Horses?  WILD horses wouldn’t have stopped me.

Any fears about heroes having feet of clay prove unfounded. Jay Osmond is lovely.  Meeting me to chat about the World premiere of The Osmonds: a New Musical, I’m curious about the show he calls a ‘living memoir.’

“I wrote this book called Stages about my life. It turned into more of a travelogue, so I always wanted to do a backstage version that included not only the good times, but the bad and sad times too,” he explains.

A friend and producer of Jay’s had an idea. “He said ‘why don’t you write a living memoir and put it on stage?’ And I thought ‘Exactly!’ I have always loved the stage – for me it was one last frontier to conquer.

“I wrote it from the heart. It was hard; I had to play my drums a lot to get my emotions out, but it all boiled down to this: why did we do what we did? It was because we wanted to help people; to use those talents to do some good in the world. I wanted to put that purpose into the show. I think you can do almost anything in life if you have a purpose.”

And you’d need a sense of purpose to get 30+ songs and Jay’s story into a two-hour production.

“It was a challenge,” he admits. “It’s about the four brothers who were at the start. I was one of them. The story starts at the 50th anniversary and then goes way back. Each of us has a different perspective, so this is very much my perspective; hard times, fun times, why we did what we did and how we did it as a family.”

The result is a show that, by all accounts, has broad appeal. Great music and a great story, in which Jay pulls back the curtain to reveal the real family behind all these hits – parents George and Olive Osmond and their nine children; it taps into something richer and is a show that will speak to everyone.

Shrugging modestly, Jay concedes only that “Our music really is multi-generational.”

He’s more effusive, however, about the show’s creative team, praising them and recalling the moment during the workshopping process when he realised that they had created something special.  

“To see people laugh, cry and sing along – I knew then that it would work. We have been so blessed with the talented people involved.”

Jay started his barbershop quartet with Brothers Alan, Wayne and Merrill. They had no idea they would go on to become one of the most famous groups in history. Singing initially to fund hearing aids for their two older brothers, Virl & Tom, they were discovered by Walt Disney in 1961. Mentored by Walt, they were invited to appear on The Andy Williams show, achieving global fame. Adding brother Donny to the group, international tours and high profile TV appearances followed. Selling millions of records worldwide, earning dozens of awards and more than fifty gold and platinum records, The Osmonds remain pop royalty.

And even though he was voted one of the top 10 drummers in the country during the 1970s, co-wrote many of The Osmonds’ hit records and choreographed their shows – as well as being an accomplished TV producer – Jay brushes off his achievements. And again, the modesty is authentic. Our Jay is not a man who puts on an ‘interview’ persona. The kindness and warmth is sincere – and never more so than when he talks about the fans.

“We call them friends, not fans,” he corrects me gently, “and we hear them when they tell us that our music helped them at difficult times in their lives.”

Their ‘friends’, it transpires, were a big part of the decision to premiere the show in the UK.

“This is where our family was so welcomed. Osmond-mania kind of happened everywhere, but there was something about the UK; our family was so accepted and so loved here. We have been to almost every place on the tour list at some point and they are places that hold so many memories. We’ll go to Canada and America too, sure, but it feels right to begin here.”

It also feels like the perfect show for a world emerging from the misery of the pandemic.

“I think it really is,” he says, smiling. “I want it to be a celebration of helping people out. I want people to walk out of the theatre feeling lifted and excited about life; to feel joy. That’s my goal. I am humbled by the fact that we have been blessed with people who have loved our music and that we might have played a small part in their lives when they have faced challenges. I want them to know how much they have helped me and my family. They are part of The Osmonds. It will feel like a high school reunion when they come to the show!”

Or as one ‘friend’ said to Jay recently: “This is not just your story; it’s ours too.”

And that’s something he’s very respectful of. But then respect has always been important to The Osmonds.

“It’s a really big part of our belief system and of our perception. We had talent, but we didn’t do what we did to be famous or to make money; we did it to serve people. When we collected our People’s Choice Award, immediately after, Mom and Dad reminded us to do our chores. Our parents always reminded us what was important: Do what is right and the consequences follow. We have had to make a lot of choices along the way, but it’s been a great journey.”

Ah, but it’s not over yet, Jay. Next stop the show. And it looks set to be a spectacular jaunt down Osmond memory lane.

Take 5: five quick-fire questions for Jay Osmond

What’s your favourite Osmonds song and why?

Love me for a Reason. Because ‘let the reason be love’ is a message that is so powerful. But Crazy Horses would be my next choice.

You did karate as a young man. Still doing the fancy kicks?

No, not nowadays. But I keep fit. I’m a walker – I love to walk. And I love football. I’m also doing the Pure Trim diet at the moment. It’s organic and very pure and I have lost 30lb in the last 6 months.  

Big families usually mean hand-me-downs. Did you have hand-me-downs?

We had so many clothes thrown at us in the 70s that we didn’t need to hand down. But when I look back at some of the things we wore – wow! But hey, it was the 70s and we all wore crazy stuff. I can’t wait for people to see the costumes in this show!

What’s your most memorable moment of being in The Osmonds?

So many, but one that stands out is the night we went to watch Led Zeppelin in concert. We were introduced to the guys and they were just the nicest people! Robert Plant asked us to join them on stage for Stairway to Heaven. We weren’t sure that their audience would appreciate us, but eventually we said OK. Robert introduced us as his brand new friends. I played percussion and conga. It was incredible!

What is your philosophy for life?

Go about life and do good. Because when you do good, you feel good. And have a purpose. Be a light to others. To me, that’s the goal in life. It’s the key.

How do you want people to be feeling when they have seen your show?

I want people to walk out of the theatre feeling lifted and excited about life; to feel joy. That’s my goal.

The Osmonds: A New Musical is playing at the New Theatre Cardiff from Tue 4 October – Sat 8 October

Musical, Theatre

REVIEW Bat Out of Hell! The Musical at New Theatre Cardiff by Barbara Hughes-Moore

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Rock and Roll Dreams Come Through as Bat Out Of Hell!, the electrifying, award-winning hit musical featuring the greatest hits of Meat Loaf and Jim Steinman, hits the highway to Cardiff’s New Theatre this week. I grew up on the music of Meat Loaf, but I’ve been burned by jukebox musicals before. Bat Out of Hell!, though, is a different beast entirely: it actually began life as a futuristic rock opera in Jim Steinman’s college days, a punk spin on Peter Pan called Neverland. Steinman turned his unfinished opera into his magnum opus: Bat Out of Hell, one of the best-selling albums ever made – and now it’s back in its original form, bigger, better, and more bombastic than ever.

Martha Kirby and Glenn Adamson in Bat Out of Hell!

Set in Obsidian, a post-apocalyptic Manhattan that’s a long way from Neverland, Bat Out of Hell! follows Strat (Glenn Adamson), immortal eighteen-year-old leader of ‘The Lost’, a biker gang locked in a deadly war with the tyrannical Falco (Rob Fowler). When Strat falls in love with Raven (Martha Kirby), Falco’s rebellious daughter, the game is on and all bets are off.

Glenn Adamson as Strat

Operatic in scale and anarchic in spirit, Bat Out of Hell! is an adrenaline-fuelled rollercoaster ride through some of the most iconic songs ever written, from It’s All Coming Back to Me Now to I’d Do Anything for Love (But I Won’t Do That). They’re also some of the hardest songs to sing – but this peerless ensemble make it seem like second nature. Not only are these the best voices I’ve heard on ANY stage, they bring every drop of emotion to songs that demand nothing short of everything: high concept Wagnerian epics that are as a high risk as they are reward. A slew of talented people have trod the boards at the New Theatre, but this might just be the most exciting cast ever to do so.

Glenn Adamson and Martha Kirby in Bat Out of Hell!

Adamson and Kirby bring charisma and complexity to roles that could have become rote in less capable hands. Their chemistry is even more scorching than the real flames that shoot across the stage during the performance of the legendary title track – which is one of the most incredible things I’ve ever experienced in a theatre. They make the star-crossed love story into a symphony.

Rob Fowler and Sharon Sexton in Bat Out of Hell!

This is a show that is in on the joke and wants you to laugh right along with it. It’s hard to tell who’s having the most fun, but that honour might just go to Rob Fowler and Laura Johnson (standing in for Sharon Sexton) as Falco and Sloane, Obsidian’s answer to Burton and Taylor. Their version of Paradise By the Dashboard Light might be the most fun you can have with your clothes on (even if theirs weren’t!)

The 2022 UK touring cast of Bat Out of Hell!

Meanwhile, Joelle Moses and James Chisholm bring gravitas to their powerhouse rendition of Two Out of Three Ain’t Bad, while Killian Thomas Lefevre’s Tink steals the audience’s hearts with Not Allowed to Love, one of the ballads written specifically for the show. (The other, What Part of My Body Hurts the Most, is sung by Fowler and Johnson in an affectingly tender moment for their characters).

The 2022 touring cast of Bat Out of Hell!

The songs are mini epics in their own right, self-contained sagas that lend themselves perfectly to the stage – and their unique sound is captured by South Wales-born musical director Iestyn Griffiths and his superb live orchestra in. Coupled with  Jay Scheib’s kinetic direction and Xena Gusthart’s inventive choreo, the music underscores the immersive fever dream of the stage (designed by Jon Bausor, also responsible for the fabulous costumes), a world half dreaded and half desired.

The 2022 touring cast of Bat Out of Hell!

The spectacle of this show is second-to-none. If you’re not a fan of the songs, you will be by the time the curtain falls – and if you are one already, you’ll be in paradise (by the dashboard light). The men who brought them to us may be gone, but the beat is theirs forever – and with Bat Out of Hell!, it’s ours now too. With a little faith, trust and pixie dust, your rock and roll dreams can come true – so get yourself all revved up, because you’ve got somewhere to go – just watch out for the sudden curve!

Bat Out Of Hell! is playing at the New Theatre Cardiff from 27 September – 1 October, and across the UK through to April 2023.

Musical, Theatre

PREVIEW Bat Out Of Hell! at the New Theatre Cardiff 27 Sep – 1 Oct

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You took the words right out of my mouth: Bat Out Of Hell!, the electrifying hit musical featuring the greatest hits of Meatloaf and Jim Steinman, rocks and rolls its way to the New Theatre this week!

The 2022 touring cast of Bat Out Of Hell!

Bat Out Of Hell! is a post-apocalyptic Peter Pan set in a dystopian version of Manhattan (aka ‘Obsidian’). It’s the stomping ground of Strat, immortal eighteen-year-old leader of ‘The Lost’, a biker gang locked in a deadly war with Falco, Obsidian’s crooked commander-in-chief. When Strat falls in love with Raven, Falco’s rebellious daughter, the game is on and all bets are off.

The 2022 touring cast of Bat Out Of Hell!

Winner of the audience-voted best musical at the London Evening Standard Theatre Awards, Bat Out Of Hell! features iconic songs like ‘I’d Do Anything For Love (But I Won’t Do That)’, ‘Two Out Of Three Ain’t Bad’, ‘Dead Ringer For Love’ and the legendary title track that will have you rocking and rolling in the aisles.

Glenn Adamson as Strat in Bat Out of Hell!

Bat Out Of Hell! is playing at the New Theatre Cardiff from 27 September – 1 October, and across the UK through to April 2023.

Musical, Theatre

Review Friendsical UK Tour, New Theatre Cardiff by Barbara Hughes-Moore

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Once upon a time, in the far away land of 1994, six best friends told us they’d always be there for us. Ten seasons and 236 episodes later, and they’ve more than kept their promise: Friends remains one of the most iconic television shows ever, even almost two decades after its finale aired. It spawned countless imitators, an iconic haircut, and even its own spinoff, and now it’s reached that coveted next level of fame: its own parody musical.

Cast of Friendsical at Edinburgh Festival Fringe 2022

Produced by Brooke Mauchline Productions Ltd in association with Assembly Festival, Friendsical is a new comedy show which takes you on a whistlestop tour down memory lane via Central Perk, featuring original songs by Barrie Bignold and Miranda Larson (who also directs). Our master of ceremonies is Dr Ross Geller, who has gathered the titular BFFs together for a retelling of their infamous escapades, though its mostly an excuse to ‘pivot’ to his and Rachel’s will-they-won’t-they romance.

Cast of Friendsical at Edinburgh Festival Fringe 2022

This is a show which doesn’t so much break the fourth wall as crash a wrecking ball through it. It’s a metatextual take on a beloved medium in the same vein as Crazy Ex-Girlfriend and Galavant, with the chaotic charm of a Starkid production (the team behind the successful A Very Potter Musical). While Friends was already quite savvy and self-aware, Friendsical turns it up to eleven. There’s lots of singing, dancing, and oodles of iconic references that shows just how much love the cast and crew have for the original, from every ‘We were on a break!’ to every ‘Oh. My. God!’

Cast of Friendsical at Edinburgh Festival Fringe 2022

The multitalented cast includes Nelson Bettencourt as Ross, Sario Solomon as Joey, Sarah Michelle-Kelly as Monica, Tim Edwards as Chandler (giving a pitch-perfect Perry), Ally Retberg as Phoebe (and, memorably, Janice too), and Amelia Kinu Muus as Rachel. There are strong supporting performances by Olivia Williamson and Ashley Cavender and a fabulous guest turn by The Pussycat Dolls’ Kimberly Wyatt (Strictly Come Dancing champion Joanne Clifton will guest star on the 10th September shows). The cast are as charming and lovable as their original counterparts, whose mannerisms and voices they have down to a tee, and bring genuine heart and hilarity to every moment they’re onstage – nothing short of Herculean given the deeply sad and momentous news of Queen Elizabeth II’s passing that came in just before curtain up. The two minutes’ silence observed in the theatre was respectful and profound.

Cast of Friendsical at Edinburgh Festival Fringe 2022

The cast’s dedication and skill was both masterly and moving. If you have a passion for 90s fashion or know the words to ‘Smelly Cat’ by heart, this is the show for you. Ross, Rachel, Joey, Phoebe, Monica and Chandler have been with us for nearly 30 years, and Friendiscal is here to show us why they always will be.

Twitter / Instagram: @Friendsical

Friendsical is playing at the New Theatre Cardiff from 8 – 10 September 2022.

Musical, Theatre

PREVIEW Friendsical at the New Theatre Cardiff 8 – 10 September

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The one where Friends gets its own parody musical

Cast of Friendsical at Edinburgh Festival Fringe 2022

Produced by Brooke Mauchline Productions Ltd in association with Assembly Festival, Friendsical is a comedy musical that lovingly parodies the beloved TV show Friends. Featuring original songs by Barrie Bignold and Miranda Larson (who also directs), Friendsical will take you on a whistlestop tour down memory lane via Central Perk, cramming 10 seasons and 236 episodes into just 60 minutes!

Cast of Friendsical at Edinburgh Festival Fringe 2022

The multitalented cast includes Sario Solomon as Joey, Sarah Michelle-Kelly as Monica, Nelson Bettencourt as Ross, Tim Edwards as Chandler, Ally Retberg as Phoebe, Amelia Kinu Muus as Rachel, Olivia Williamson as Hot Girl/Ensemble and Tanveer Singh Devgun as Gunther/Male Ensemble.

And the show continues Friends’ tradition of incredible cameos! The Pussycat Dolls’ Kimberly Wyatt will make a a celebrity guest appearance on 8 & 9 Sept while Strictly Come Dancing champion Joanne Clifton will make a celebrity guest appearance on 10 Sept.

Cast of Friendsical at Edinburgh Festival Fringe 2022

The UK tour begins at Cardiff’s New Theatre on 8 September 2022. Join Ross, Rachel, Joey, Monica, Chandler and Phoebe have been with us for nearly 30 years, and Friendiscal is here to show us why they always will be.

Twitter / Instagram: @Friendsical

Friendsical is playing at the New Theatre Cardiff from 8 – 10 September 2022.

Musical

REVIEW The Cher Show, New Theatre by Barbara Hughes-Moore

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We all know the story, right? A young hopeful with big dreams becomes a star. Most everyone who makes it in showbiz has a rags to riches story, but no-one has a story quite like Cherilyn Sarkisian aka Cher: the barrier-breaking, age-defying Goddess of Pop who was ahead of her time well before she turned it back. From a shy truck driver’s daughter to a multi-million selling recording artist and Oscar-winning actress, Cher broke the rules and set the trends. Her incredible rise to fame is told with wit, wonder, and no small amount of wigs in The Cher Show, a brand new musical touring the UK and Ireland through to April 2023.

https://www.youtube.com/watch?v=exivtEPXh0M

Brought to life by a spectacular cast and crew, The Cher Show spans six decades, three Chers, and one incredible story. A trio of magnificent actresses each embody a facet of her life: Millie O’Connell as ‘Babe’, the naïve hopeful; Danielle Steers as ‘Lady’, one half of America’s favourite couple; and Debbie Kurup as ‘Star’, at last a legend in her own right. O’Connell, Steers and Kurup have the unenviable task of portraying a woman who defies imitation – and yet each step up to the plate with aplomb, nailing Cher’s distinct vocals and stage presence. They also share a uniquely engaging chemistry with each other that is often hilarious and at times touching: when the wiser, more experienced ‘Star’ comforts ‘Lady’ through her marital woes, it is genuinely moving – perhaps, like Cher, we are always in conversation with our past selves.

Left to right: Millie O’Connell as ‘Babe’, Debbie Kurup as ‘Star’, and Danielle Steers as ‘Lady’

The jukebox musical and the biopic are two of the most difficult artforms to get right – mostly because we’ve seen it all before. True as the tales may be, these are genres which quickly become rote, worn out. But The Cher Show, much like its titular star, shatters all those expectations and blazes its own trail. And who better to bring that to life than two Strictly Come Dancing superstars: former Strictly Judge and West End icon Arlene Phillips, who directs, and two-time Glitterball champ Oti Mabuse, who choreographs. Written by Tony and Olivier Award-winning Rick Elice (Jersey Boys, The Addams Family), the show and its stars capture the wit and also the glamour of its leading lady, thanks to Gabriella Slade’s (Six, Spiceworld 2019) eye-popping costume design.

Lucas Rush as Sonny and Danielle Steers as ‘Lady’ Cher

Lucas Rush is a standout as Sonny Bono – not only are they a dead ringer for the character (from the voice to the flares to the facial hair!), they have incredible chemistry with ‘Babe’, ‘Lady’, and ‘Star’. While the road wasn’t always easy, the love between Sonny and Cher was as legendary as their music – and here, when the pair sang ‘I Got You Babe’ one last time, there wasn’t a dry eye in the house. Alongside a fabulous sailor-fied ensemble (no doubt evoking Cher’s iconic music video for ‘If I Could Turn Back Time’), there are excellent supporting turns from Jake Mitchell as costume designer Bob Mackie, Sam Ferriday as Cher’s paramours Greg Allman and Rob Camilletti, and Tori Scott as her strong-willed mom Georgia.

The cast of ‘The Cher Show’, featuring Debbie Kurup as ‘Star’

And with a musical catalogue like Cher’s, the beat truly does go on. Played by a scintillating live band, the show is packed with 35 of her biggest hits, including ‘If I Could Turn Back Time’, ‘I Got You Babe’, ‘The Shoop Shoop Song (It’s in His Kiss)’ and ‘Believe’. By the time the Megamix rolled round, the whole audience was on its feet: I’ve never seen a reception like it. You will be awed. You will be entertained. And you will believe in life after love.

https://www.youtube.com/watch?v=ftOlzaivIcE

The Cher Show is playing at the New Theatre through 27 August.