Tag Archives: Cardiff

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

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!

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.

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.

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

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.

PREVIEW Friendsical at the New Theatre Cardiff 8 – 10 September

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.

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

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.

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.

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

Cher and Cher alike: An Interview with Director Arlene Phillips

What follows is a syndicated interview with The Cher Show director Arlene Phillips.

The Cher Show is a brand new musical which tells the life story of the legendary recording artist, and is packed with 35 of her biggest hits, including ‘If I Could Turn Back Time’, ‘I Got You Babe’, ‘The Shoop Shoop Song’ and ‘Believe’. With book by Tony and Olivier Award-winning Rick Elice (Jersey BoysThe Addams Family), direction by Arlene Phillips (Saturday Night FeverStarlight Express), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (SixIn The Heights), The Cher Show is playing at Cardiff’s New Theatre between 23 – 27 August and continues touring around the UK and Ireland through to 1 April 2023.

Both have successful decade-spanning careers. Both are driven and fiercely independent. And then there’s the mutual love of sequins. Arlene Phillips talks to Vicky Edwards about Girl Power, refusing to act her age and why The Cher Show is an unmissable and fabulously feel-good extravaganza.

“I loved Cher’s music from the first time I heard it, but it’s more than that;

Cher is an icon,” says Arlene, confessing that she is thrilled to be directing The Cher Show.

“I am so excited! Cher is a woman who right from the start of her career was ahead of her time. She’s had hits in every decade, she’s a great actress and she’s whip-smart. She has also been a great pioneer for women’s rights. If there’s something to shout about then Cher shouts about it.”

All of which results in an international following that transcends age, gender and race. And now the show that carries her name seems set to do likewise. Having debuted on Broadway in 2018, earning two Tony Awards, Arlene’s production of The Cher Show marks the European premiere. Telling how Cherilyn Sarkisian went from truck driver’s daughter with big dreams to the Oscar-winning Goddess of Pop and Queen of Reinvention, Cher takes the audience by the hand and introduces them to the influential people in her life; from her mother and Sonny Bono to fashion designer and costumier Bob Mackie.  Recalling how she battled the men who underestimated her and defied convention, the story is told, Arlene explains, as if Cher is looking back on her life.

“There is a great story running through as she looks back at the moments where she made an impact, whether through a relationship, a hit, a movie or fashion. We want the audience  to embrace her story and have a good time.”

And a soundtrack of all her hits? Arlene is quick to reassure:

“Oh yes. There are so many hits and the show will have a great party feel to it, as the story builds and builds, finishing in a full-on full-out concert.”

And if all that weren’t enticing enough, joining Arlene on the journey are some impressive names. Written by Olivier and Tony Award-winning Rick Elice (who also wrote Jersey Boys and The Addams Family), choreography is by double Strictly Come Dancing champion Oti Mabuse.

 “Oti’s choreography is SO exciting! She is really gifted and people are going to see something that hasn’t been seen before,” promises Arlene, who as one of the world’s most respected choreographers is, let’s face it, pretty well-placed to make such a pronouncement.

And of course you can’t possibly tell Cher’s story on stage without fabulous costumes. Enter costume designer Gabriella Slade, the super-talented creator of costumes for international smash hits including Six, In the Heights and the 2019 Spice World tour. 

“The impact Cher has made in fashion has been enormous. She isn’t afraid to say I want to stay as young as possible for as long as possible and she isn’t afraid to wear the fantastic clothes and look as glamorous as can be. We have phenomenal costumes from Gabi – the details are incredible. It’s a feast of costumes!”

With a female icon as the subject of the show and Arlene, Oti and Gabriella all adding their superpowers to the mix, there’s definitely a whiff of Girl Power about the show.

“I love that,” beams Arlene, who admits that directing rather than choreographing does require a gear shift.

“It is different, but mainly it’s about how you tell the story. With choreography you look at the story, but you listen to the music. As a director you look at the story and then you use the music to help you tell the story; you’re really conscious of seeing the arc all the way through. The audience have to fall in love with the star and find things out about Cher that they didn’t already know.”

Both she and Cher are fiercely independent women. Does Arlene identify with, as well as admire, Cher?

“I totally identify with Cher in that I want to continue doing what I do for as long as I can and not be defined by my age. I am enjoying life and if I can make an impact in some way then I will.” 

With over 100 million record sales and heaps of prestigious awards, including recognition from The Council of Fashion Designers of America, Cher has certainly influenced popular culture more than most. 

“The invention and the reinvention and the ability to use her body in a powerful way is inspirational,” sighs Arlene, going on to tell me that The Cher Show has had a little reinvention of its own, having been reworked since its award-winning Broadway run.

“We have clarified every detail and I can’t wait for people to see it,” she says, passing me a list of the venues that the show will play.

“There are so many theatres on this tour that are special to me, but every theatre is making sure that they are Covid-safe and that audiences feel confident about visiting them. I hope people will support their local theatre. There really is no substitute for live performance and I urge people to go and feel the love and warmth of this show.”

Adding that she sees the production as being “absolutely a show for now,” she continues:  “Escapism is a wonderful mind-healer, and that’s what you get with The Cher Show.  We’re all more fragile than we’ve ever been before and the future feels unsure. This is a show that brings pure post-pandemic joy.  People will go home having laughed, possibly having shed a tear and dancing up the aisles. They can put aside their worries and in that moment they’ll be wrapped up in this extravaganza of a show!”

The Cher Show UK & Ireland Tour is produced by ROYO with Fiery Angel, Cuffe & Taylor/LIVE NATION and Playing Field in association with Tilted, Aria Entertainment and JONES Theatrical Group. Twitter, Facebook, Instagram: @TheCherShowUK

Here, Cher and Everywhere: An Interview with Choreographer Oti Mabuse

What follows is a syndicated interview with The Cher Show choreographer, Oti Mabuse.

The Cher Show is a brand new musical which tells the life story of the legendary recording artist, and is packed with 35 of her biggest hits, including ‘If I Could Turn Back Time’, ‘I Got You Babe’, ‘The Shoop Shoop Song’ and ‘Believe’. With book by Tony and Olivier Award-winning Rick Elice (Jersey Boys, The Addams Family), direction by Arlene Phillips (Saturday Night Fever, Starlight Express), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (Six, In The Heights), The Cher Show is playing at Cardiff’s New Theatre between 23 – 27 August and continues touring around the UK and Ireland through to 1 April 2023.

A bundle of zesty energy, Oti Mabuse may be on a rare day off when we meet but she’s still operating at warp speed. But then the double Strictly Glitterball champion has good reason to be so happy and animated.

Currently revving up for the hotly anticipated brand new production of The Cher Show, directed by national dance treasure Arlene Phillips and with a book by Tony and Olivier Award-winning Rick Elice (of Jersey Boys fame), Oti will be choreographing the show, which will tour until April 2023.

Telling the story of the Armenian American truck driver’s shy daughter who rose to global stardom, The Cher Show charts superstar Cher’s meteoric rise to fame. And of course there is a cracking soundtrack. Packed with 35 of her biggest hits, it’s part show and part party. 

“It’s the story that so many women connect with, but it’s also the songs and the clothes. It will be epic!” beams Oti, adding: “It has to be bigger than anything because it’s her; it has to live up to Cher’s iconic status. Shehas been such an inspiration to so many people and this musical is going to be a celebration of everything people love about her.”

And so it’s down to Oti to weave that star quality into the choreography – a challenge that she is absolutely thrilled with.

“What I love about choreography is that, when I’m dancing, I am only part of the picture, but when you are choreographing, there are so many elements that are so exciting. Creating a storyline through dance means you go through the smallest details – is there a connection or a secret between the dancers that we need the audience to share? What props are there? What is the dancer at the back of the stage doing?”

As for the music, Oti’s exuberance ratchets up yet another notch when we start talking about Cher’s hits.

“I grew up with a family that always listened to music and we all loved Cher’s music. Her songs have stories behind them and I LOVE choreography that has a story behind it! It has an intention you can then give to the movement. It makes everyone in the theatre part of the story. And everyone connects to Cher’s music because it is timeless. SHE is timeless!

“The show starts from the beginning of her life and comes to present day, so if you don’t know Cher’s story you will learn it. There are so many great songs that will make people feel uplifted too. And the show is going to almost every theatre in the country because Cher is an international phenomenon!”

But while she won’t be on the road with The Cher Show, Oti will be touring with her own dance production, I Am Here.

“This is very exciting because it’s my first official tour. It’s such an honour. It’s going to be loud, funny and truthful, and people will meet the real me. We have a live band, great music and a cast of great dancers.

“I love touring and the audiences make it for me. People have paid to come and be entertained and it’s lovely to do that; to create a memorable moment in their lives.”

And, it seems, Oti relishes the educational aspect of touring life.

“I love learning and when you tour in the UK you learn crazy things like whether you put cream or jam on a scone first! I love hearing the different accents and the different way people greet each other depending where you are.”

With an infectious chuckle she adds: “I think touring is the best way to understand human beings!”

“All the theatres my shows are visiting are so supportive of people who come to put a show on; they are so welcoming and so, so hard working. After lockdown and the terrible time that theatres had, it is so lovely to be taking The Cher Show and Here I Am on tour.”

But even with two stage shows hitting the road, human dynamo Oti is still thinking ahead.

“I have a lot of things that I want to achieve in life and I am lucky that my parents raised me to be driven and ambitious. But my goals come from a good place and I really enjoy the journey of pursuing my dreams. Anyone who hires me knows that I will be the hardest working person in the place. For instance, there were very few books about dancing for children, so I wrote one.”

And that’s by no means all. Born in South Africa in 1990, Oti has been dancing since childhood. From making a name for herself in South Africa as the undefeated  eight-time South African Latin American champion, she also managed to train as a Civil Engineer while competing in dance competitions. Winning awards and championships across Europe, TV soon beckoned and Oti joined the German version of Strictly Come Dancing. After two successful seasons, she joined the original BBC version of the show. Winning the coveted trophy in 2019 with actor Kelvin Fletcher, the following year Oti became the first Strictly Pro ever to win the Glitterball two consecutive years, alongside her partner Bill Bailey. TV and theatre work continues to flood in, which she juggles with running The Oti Mabuse Dance Studio, but, I ask, was performing always the dream?

“I wanted to go into Musical Theatre straight from High School, but my mum said I should be first academic and then pursue my passions. Since she was paying the bills, I didn’t have much choice!”

Reflective for a moment, she adds: “Engineering and dance are both about problem solving and precision and I love them both equally. I’d love to do a TV show about it.”

 A TV show about engineering told through the medium of dance? If anyone can pull that off then it’s Oti. Stand by for the Reinforced Concrete Rumba…

The Cher Show UK & Ireland Tour is produced by ROYO with Fiery Angel, Cuffe & Taylor/LIVE NATION and Playing Field in association with Tilted, Aria Entertainment and JONES Theatrical Group. Twitter, Facebook, Instagram: @TheCherShowUK

REVIEW Chicago, New Theatre Cardiff by Barbara Hughes-Moore

Chicago, 1920s. In a city ruled by mob bosses and moonshine, misbehaviour ain’t just on the menu: it’s a way of life. If it’s fame you’re after, you might get fifteen minutes or fifteen to life – and Roxie Hart’s dream of seeing her name in the papers is one she’ll kill for. With blood on her hands and a song in her heart, Roxie (Faye Brookes) teams up with sleazy lawyer Billy Flynn (Lee Mead) to fool the masses, stealing the thunder of her rival cellmate, Velma Kelly (Djalenga Scott), in the process.

‘All That Jazz’: the Chicago ensemble, led by Djalenga Scott as Velma Kelly

Featuring classic songs by Kander and Ebb and original choreography by Bob Fosse (the trio behind the iconic Cabaret), Chicago is fresher, funnier and fiercer than ever. 25 years after its revival swept the Tonys, and nearly 50 since it first premiered on Broadway, the show’s satire of law, politics and the press could hardly be more relevant: after all, what’s the difference between a theatre and a courtroom when showmanship, not integrity, is the order of the day? Even when the actors are playing judges and reporters, they’re wearing mesh, fishnets, and leather: justice is showbiz, darling, and you’d better pray for an encore. Chicago is self-consciously theatrical, drawing attention to its own artifice: a gilt frame encloses the stage, but the set itself has no frills and few props: its simplicity spotlights the performances instead of the staging.

‘We Both Reached for the Gun’: Billy Flynn (Lee Mead) puppeteers Roxie Hart (Faye Brookes) through a press conference

And what performances! Faye Brookes brings lashings of wit and charm to Roxie Hart: one part hapless crim, one part ruthless dame. Brookes is a hilarious and vibrant stage presence, particularly when pitted against Djalenga Scott as Velma Kelly, whose stylish swagger makes for an effective foil to Brookes’ wide-eyed ebullience; their ‘Hot Honey Rag’ duet is a veritable dance masterclass.

‘The name on everybody’s lips is gonna be “Roxie”‘: Roxie Hart (Faye Brookes) and her ‘boys’

There are excellent supporting performances by X Factor finalist Brenda Edwards as the sultry Matron ‘Mama’ Morton, Jamie Baughan as Roxie’s hangdog husband Amos and B.E. Wong as big-hearted but gullible journo Mary Sunshine. Meanwhile, Lee Mead as Billy Flynn really does give the audience the ol’ ‘Razzle Dazzle’, and Scott’s sensational rendition of ‘All That Jazz’ brings the house down by the time the show’s barely started. But the Cell Block Tango might just be the standout: by the final chorus, you’ll really believe ‘he had it coming!’

A chain-smoking tap-dance

The incredibly intricate dancing is executed with effortless precision, with every Fosse finger snap and hip roll present and accounted for. The ensemble is on top form as is the superb live band, directed by Andrew Hilton, who are seated onstage in striking, asymmetric tiers. You won’t find better singing, dancing or live music this side of the ‘20s: the cast prove once again why Chicago is still one of the best musicals around. If you love the Oscar-winning movie, you’ll be in your element; if you’re new to the medium, then you’re starting out with the best. Stylish, sexy and spectacular, Chicago is all that jazz and then some – it’s the most fun you can have without breaking the law!

‘I Can’t Do it Alone’: Velma Kelly (Djalenga Scott) and Roxie Hart (Faye Brookes) take their criminally-good show on the road

Chicago is playing at the New Theatre Cardiff until Saturday 25 June

Review by
Barbara Hughes-Moore

Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.

REVIEW Violet, Music Theatre Wales by Barbara Hughes-Moore

Time is one of humanity’s most enduring enigmas; it can be counted in eras and in seconds, it can seem endless or scarce, and however long you live, there’s never enough of it. These are some of the key tensions within Violet, a contemporary opera which is sung through in English and co-produced by Music Theatre Wales and Britten Pears. Composed by Tom Coult and written by Alice Birch, the story takes place in a town where nothing changes until, one day, everything does: one hour disappears on day one, two on day two, and on and on – but while the world seems to be ending around her, Violet’s is just beginning.

Richard Burkhard, Frances Gregory and Anna Dennis in Violet (image credit: Marc Brenner)

Directed by Jude Christian, Violet is an exhibition of artistry, from Rosie Elnile’s gorgeous set, which looks like a minimalist Renaissance painting, to Cécile Trémolières’ lush costumes, which play with both austerity and freedom through fabric. The temporal distortion at the story’s heart bleeds through to everything on the stage, which anachronistically mixes period clothing with modern props, framed by an animated backdrop of dandelion seeds swirling like grains of sand in an hourglass.

Anna Dennis in Violet (image credit: Marc Brenner)

The operatic quartet at its heart are equally impressive. Anna Dennis viscerally captures Violet’s growing sense of self and power (her name even seems to anticipate ‘violent ends’) while Richard Burkhard and Frances Gregory (as Violet’s husband and maid, respectively) convey their characters’ descent into despair. At the start of each scene, Andrew MacKenzie-Wicks’ keeper goes to the clock tower, changing it to show the days left and the hours lost. The tower is built to mimic a guillotine; along with a branch and a bell, it is one of three ‘swords’ of Damocles which hang ominously above the characters, as if to fall at any moment.

Richard Burkhard and Andrew MacKenzie-Wicks in Violet (image credit: Marc Brenner)

Thematically and visually, then, it’s close to perfection – but, for some reason, I didn’t quite connect with it. Perhaps it’s because I’ve never seen a ‘contemporary opera’ before, despite how exceptional the singers are, how authentic Coult’s score is or how vivid it sounds in the hands of the London Sinfonietta, conducted by Andrew Gourlay. If you’re immersed in the worlds of opera or experimental theatre, you couldn’t ask for better – but, like the twenty-first century laptop on the sixteenth-century table, I felt emotionally ‘displaced’ by the show, unable to ever fully tune into its frequency.

Frances Gregory in Violet (image credit: Marc Brenner)

My reservations are encapsulated in its ending: an unsettling animated sequence which is sure to divide audiences. It’s certainly divided me: on the one hand, I can appreciate how it underscores the themes of time doubling in on itself, of repetition and stagnancy. On the other, it shatters the strange magic of the first eighty minutes, and any sense of ‘hope’ along with it.

Richard Burkhard in Violet (image credit: Marc Brenner)

Violet premiered at the Aldeburgh Festival in Snape Maltings, Suffolk, earlier this month and it’s easy to see why it’s had such an impact on audiences. I was caught up in its artistry and intrigue, and it’s made me want to explore the world of opera, modern and otherwise, all the more. Dynamic and affecting, what Violet conveys most effectively is that the end of the world might not come in a planet-shattering catastrophe, but in a creeping sense of hopelessness and dread: not with a bang, or even a whimper, but with the ringing of a bell.

Violet is touring across the UK through July, with upcoming performances in London, Buxton and Mold

Review by
Barbara Hughes-Moore

Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.

REVIEW Northern Ballet: The Great Gatsby, New Theatre by Barbara Hughes-Moore

Hailed as ‘The Great American Novel’, F. Scott Fitzgerald’s The Great Gatsby is an iconic tale of decadence, death and desire. It epitomized the feel of the Roaring Twenties like nothing else: an era of flappers, libertines and bright young things, where ‘anything goes’ wasn’t just a phrase but a state of mind. The story continues to captivate nearly a hundred years since its publication and Northern Ballet’s thrilling take on the tale is bolder and more beautiful than ever – no wonder that it’s returns for its third smash-hit tour, which graces the New Theatre this week for five nights of dazzling decadence.

Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)

Long Island, 1922. New-in-town Nick Carraway (Sean Bates) strikes up a friendship with his affluent and enigmatic neighbour, Jay Gatsby (Joseph Taylor). Gatsby’s lavish parties are legend – but Gatsby seems interested only in the green light across the Bay, to which he stretches out his arm night after night: the light on the dock belonging to his true love, Daisy (Abigail Prudames). With Gatsby gunning to win her back, Daisy’s marriage to the brutish Tom Buchanan (Lorenzo Trossello) is about to be tested when his affair with the socially ambitious Myrtle (Minju Kang) takes a dangerous new turn.

Northern Ballet dancers in The Great Gatsby (photo credit: Emily Nuttall)

Directed, designed and choreographed by David Nixon OBE, the show is a visual splendour from start to finish. It’s no surprise that Nixon was nominated for a UK Theatre Award and a National Dance Award for his work here: the stunning choreography and gorgeous costumes immerse you in the Jazz Age, taking you on a whistlestop tour through Gatsby’s world. Coupled with Jérôme Kaplan’s striking Art Deco-inspired sets and the sumptuous score by Sir Richard Rodney Bennett CBE, played live by Northern Ballet Sinfonia, and you have a production that’s a feast for the senses.

Minju Kang (photo credit: Emma Kauldhar)

The ensemble is nothing short of perfection, bringing heart, soul and a jaw-dropping athleticism and grace. They convey a frenetic joy in the champagne-swilling speakeasies and sensual longing in every pas de deux. Heather Lehan oozes aloofness as socialite Jordan Baker, an effective foil to Bates’ nice-guy Nick. Minju Kang’s solos are a highlight, and the show soars whenever she shares the stage with Riku Ito (as her husband, George) and Trossello.

Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)

Taylor and Prudames are captivating as the doomed lovers at the story’s heart: they dance often in front of a wall of mirrors, but their reflections are distorted – just as their images of each other are – and they even mirror the movements of their younger selves, who dance behind them like echoes of the past.

Northern Ballet dancers in The Great Gatsby (photo credit: Emma Kauldhar)

Anyone who enjoys the themed weeks on Strictly Come Dancing will find a special joy in watching the show’s balletic spin on Charlestons and tangos, and flashbacks to Gatsby’s shady past are brilliantly conveyed through a phalanx of fedora-wearing crooks. Northern Ballet have captured every facet of the era’s excess, every lost love and lost chance: most of all, they have captured a sense of old-fashioned Hollywood glamour that you just don’t see these days. In their hands, Gatsby isn’t just great – it’s magnificent.

Northern Ballet: The Great Gatsby is at the New Theatre Cardiff from Tuesday 7 – Saturday 11 June

Review by
Barbara Hughes-Moore

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PREVIEW Northern Ballet: The Great Gatsby at the New Theatre, Cardiff

Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)

You are cordially invited to the most fabulous party in town. Northern Ballet, the UK’s widest touring ballet company, is renowned for its innovative, iconic reimaginings of classic tales – Cleopatra, Beauty and the Beast, and Jane Eyre to name but a few – and now their sensational production of The Great Gatsby, which opens in Cardiff this week, is bringing the glitz and glamour of 1920s New York to our shores.

Filippo Di Vilio, George Liang, Gavin McCaig (photo credit: Emma Kauldhar)

F. Scott Fitzgerald’s The Great Gatsby is a tale of decadence and deceit, of envy and excess. The titular ‘Great’ Gatsby is a self-made millionaire with a mysterious past and a long-unfulfilled love in the shape of the mercurial (and very married) Daisy Buchanan. The fallout of this doomed romance threatens the lives and livelihoods of everyone who calls West Egg home.

Minju Kang (photo credit: Emma Kauldhar)

Choreographed, designed and directed by David Nixon OBE, Northern Ballet’s take on ‘The Great American Novel’ promises to be a night of visual splendour and breathtaking skill, where dancers glide across the floor in sumptuous Chanel-inspired couture to a sweeping score by Sir Richard Rodney Bennett CBE (Four Weddings and a Funeral, Murder on the Orient Express).

Northern Ballet dancers in The Great Gatsby (photo credit: Emily Nuttall)

Whether you’re an old sport or a bright young thing, you’ll be sure to lose yourself in this lavish tale of love and luxury.

Northern Ballet: The Great Gatsby is at the New Theatre Cardiff from Tuesday 7 – Saturday 11 June