Tag Archives: featured

Film & TV, Literature, Theatre

Review Double Indemnity, New Theatre, Cardiff by Bethan England

Leave a comment
out of 5 stars (4 / 5)

The classic noir thriller, based on the original novel and 1944 film, brings an impressive adaptation to the New Theatre stage. It has everything you need to keep you on the edge of your seat throughout, intrigue, plotting, mystery and, of course, murder. The classic novel by James M. Cain is cleverly adapted for the stage by Tom Holloway, with direction by Oscar Toeman.

It could prove quite tricky to bring this to the stage, but the use of Walter Huff, breaking the fourth wall is a clever adaptation that mirrors but doesn’t exactly duplicate his use of the Dictaphone in the original movie of 1944. I really enjoyed how the audience were completely and utterly drawn into his plotting by using this device, making us question ourselves as well as him. It also made him truly likeable, in spite of his heinous acts and made it all the harder to see him as a villain at all; again, making an interesting internal reflection for audience members.

I thought the play perfectly captured the classic genre of noir thriller. The acting really aligned with those classic movies of old, naturalistic but sizzling with passion, fire burning just beneath the subtle side glances, the slight movements towards one another and the chemistry between characters, especially our two leads. This is perfectly balanced by some cleverly intertwined moments of comedy, especially from Keyes, portrayed by Martin Marquez. This broke the inevitable tension well; the comedy delivered with dead pan and with impeccable timing.

The whole cast are excellent; Mishca Barton of The O.C. fame portrays the femme fatale herself, Phyllis and it’s hard to believe that this is her stage debut. She excels in the role, malevolent but irresistibly likeable too. Opposite her is Ciaran Owens as our confessor, Walter Huff. His ability to make you like him, despite his misdeeds, is brilliant; he is almost the tragic hero of the piece, even though we know his flaws. The
relationship with Phyllis sizzles with passion and we are immediately drawn along for the ride with them
both.

The cast is also made up of Gillian Saker as Nettie, who is really believable as the put upon secretary of Walter. Joseph Langdon multi roles with ease as Mr Norton, Nino and Joe Pete, bringing great physicality and voices to each role to immediately mark them as distinct. Another masterclass in multi roles and
changing of physicality is Oliver Ryan as Mr Nirdlinger, Jack Christholf and Jackson. Finally, Sophia Roberts as Lola is charming and brings a childlike innocence, yet knowingness to the role.

This is a thoroughly enjoyable production; it rattles along at a great pace that keeps you guessing at every turn and, as someone who has not seen the film, or read the book, the twists had me gripped throughout. This is testament to the exceptional team of actors who bring this to life, which perfectly captures the essence of the noir thriller whilst breathing new life into the piece. If in doubt, double down, grab a ticket and enjoy a thrilling evening which will leave you wanting more.

Theatre

Review: Fawlty Towers the Play, Venue Cymru, Llandudno, by Richard Evans

Leave a comment

Fawlty Towers Tour Ltd

Venue Cymru, Llandudno, May 5th-9th, also Cardiff, June 23-27

out of 5 stars (4 / 5)

It is said that imitation is the sincerest form of flattery and this is what Fawlty Towers The Play sets out to do.  Take one of the most loved sitcoms from the 1970’s and reproduce it for the stage.  Adapted by John Cleese, star of the original series, and using material written by him and Connie Booth, exerts from several of the original twelve episodes were recreated in a two act play.   

There is no overall theme to the plot which suits the chaotic nature of the management of this hotel, Fawlty Towers or Flowery Twats as it was in the second half.  Rather, different characters and situations arise for Basil Fawlty to exhibit his outlandish behaviour.  The idea for the comedy arose from the fact that Cleese had to stay in a particular hotel in Torquay where the proprietor behaved extremely eccentrically and quite rudely, giving him and Booth plenty of ammunition for the two series.  The show is full of awkward moments, cringeworthy one liners and slapstick humour.  The lovely thing is that you know things are going to go wrong, but that sense of anticipation makes a gag worth the wait.

To mimic the original without the stars from the series entails considerable effort to adopt a highly recognisable persona.  The cast do this well, with Danny Bayne as Basil standing out.  His mannerisms, intonation and actions were a mirror of Cleese in his pomp even though there were times when his words could not be heard.  Likewise Mia Austen as Sybil did an excellent impersonation.  Hemi Yeroham captured the hapless, bumbling Manuel and the audience were often waiting for his well loved phrases.  Paul Nicholas also stood out as the Major, deaf, forgetful yet wonderfully willing and jovial.  

Some of the comedy looks dated now, being over 50 years old.  One wonders if the most iconic, memorable sketch, The Germans, would get past the censors in our more politically correct world today, but that would risk losing some comic genius, an episode that ranks among many peoples favourite of all time in.  It looked strange to see Sybil lighting a cigarette. In 1975, over half the adult population smoked, now that figure is less than 12%.  An advertising ban and no product placement has played its part in that.

Should the play have created new material?  It is definitely a trip down memory lane.  So many of the audience loved seeing these sketches played out and warmed to the cast as they threw out some well known lines.  People have bemoaned the fact that there were only ever 12 episodes created but in this instance, less is more.  Too many sitcoms carry on long past their sell by date.  This, when first produced was one of the finest comedies around, so the temptation to tamper with the stage show and add new material was resisted and in changing the format from TV to live action, opens it up to a new audience.

Dance

Review Verve, Royal Welsh College of Music & Drama by Megan Pritchard

Leave a comment

Verve is the international touring dance company from Northern Contemporary Dance school – a school responsible for producing some of the most talented new dancers working in contemporary dance today. In Verve students work towards an MA in contemporary dance performance whilst training, making and touring work – giving them professional touring experience. 

Verve has a reputation for bold, creative programmes that flex the students’ skills and offer opportunities to work with some of the most exciting choreographers from across the UK and Europe. The Verve 2026 tour was proof of that ethos, featuring three different works by choreographers with a reputation for being cool.

B O D Y B E by Andrea Costanzo Martini photo by Elywel Photography

The evening opened with B O D Y B E by Andrea Costanzo Martini – an Italian choreographer with a hefty online presence. Martini is fascinated with the simple beauty of bodies and with the act of making and watching dance. His style is light, theatrical and almost wacky but woven with lingering moments of beautiful choreography which is always a joy to watch.

The show opens with a cluster of dancers dressed in simple white t-shirt and shorts in the centre of the stage. Together, they turn and notice the audience, gasping, their faces contort in cartoonish fear before they turn away and utter a drawn out ‘F-word’. With this the tone is set for the work – a playful commentary on watching and making dance that brings the audience with it.

Everything about this work varies between humorous and beautiful, stark and soft – the lighting, the music, choreography and the dancers’ expressions all do so seamlessly. There aren’t many choreographers who like to use facial expressions and these young dancers have obviously worked hard on character, clowning and vocal work alongside their dance training.

The dancers speak often, telling us about the amazing things bodies can do, telling us what watching dance can be like and how incredible it is to have a body.

At one startling moment they point directly at the audience and ask how we feel about our own bodies – I’m sure I wasn’t the only one that thought in the negative – but the team continue, listing all the little things that we are that make us amazing. Hair, freckles, two arms, two legs. A body. It’s hard to argue with that.

After the stark white costume, lights and commentary of the first section the lights dim. We’ve heard about how to consume dance, now we get to watch it.  A vibrant red strobe, pulsing, driving dance and some incredibly complex sequences create an impressive spectacle. You can tell the dancers of Verve enjoy this work, and the audience loved it too, laughing freely throughout and ending with rapturous applause. Human, honest and tongue in cheek this is as enjoyable to dance aficionados as new-comers.

We Question. We Try by Alethia Antonia photo Elywel Photography

After a short pause the second work of the evening began. We Question. We Try is a shorter work by West Yorkshire based choreographer Alethia Antonia. From my reading this work focussed on isolation of growing up in a digital world – of the importance of community.

At the start of the work the dancers are dressed in oversized grey tracksuits that change colour with the strong lighting pleasingly. The dancers’ hands and faces are covered in black gloves and hoods creating anonymous faces and bodies that move together to a deeply cool soundtrack rife with digital glitches. This choreography is fast and complex interspersed with smooth and athletic solos. The opening section gave me the impression of nameless, faceless online trolls – perhaps prompted by the digital moments in the music.

As the piece continued the dancers begin to remove their tracksuits and put on their own individual clothes. I wonder if dancers chose their own outfit for this moment as it felt incredibly authentic. As they undress, they stuff their tracksuits in a backpack, seeming to shove down the emotion and anger of the previous section, now standing confidently. Rising tall, working together, encouraging others to do the same.

This work moved from inhuman to human with ease, and though it could feel a little tropey it also feels important to the young people dancing it. They grew up in a world where finding oneself and feeling confident alongside the pressures of social media is a difficult thing to do – and there was a real authenticity to this, and some complex choreography that fitted solidly between two more theatrical works.

Hope Hunt by Oona Doherty photo by Elywel Photography

After an interval the evening finished with Hope Hunt – a restaging of Oona Doherty’s 10 years since it was created. Oona is known for distinctive, theatrical and physical dance shaped by the landscape and tensions of working class communities of Northern Ireland.

Once again this performance asked the Verve performers to draw on their vocal skills but where B O D Y B E was tongue in cheek – Hope Hunt is raw, confrontational and visceral.

As we entered the auditorium after the interval the music was blaring as if entering a club and the audience bopped and nodded along the isles to their seats. Throughout the piece sound was used to build the landscape of the work. Music, documentary clips and the dancers’ voices, breath and bodies layered together to create a complex sound-story.

As the work began the house lights stayed up but slowly, seamlessly they faded out and with it, the soundtrack switched speakers – playing only from those facing the stage – creating a bubble for the performers where the audience were sat outside and looking in – as if walking past a club at night. Here we begin to understand the context of this work.

The freesheet noted this piece aims to “create kinetic empathy for the lads, smicks, hoods, nerds, chavs and roadmen” that everyone deserves the chance to be heard and understood.
The dancers are dressed in dark blue t-shirts and trousers and gold chains. Their general body language is one we all recognise – bravado, feigned confidence, laddishness, vulnerability. On stage a blue skip is illuminated, and the lads begin to jostle, fight, dance – movements switching from solos, duets and and in-sync work together seamlessly, sometimes dance, sometimes physical theatre, always impactful.

The physicality of this piece is accompanied by full bodied vocalisations. Sounds and words are shouted, whispered, barked and repeated often turning from one thing into another. This is a work where the 17 strong cast comes alive, the sheer number of them makes the ‘lads’ feel all the more intimidating – yet as the work progresses you can see their sense of community, their sheer sense of need to connect, to feel connected.

In the closing phrase the dancers huddle together shouting a punched out ‘h’ sound together, violent and visceral. As they continue it turns desperate, a word emerges. ‘Hope’ – together the lads shout and beg for ‘hope’. Slowly the dancers drop off one by one, the spotlight on them an ever-reducing circle of isolation until just one screams ‘hope’ into the dark.

Oona’s work isn’t passive, it’s an experience, aiming to encompass the audience, to drag them along, to invite them to think – and you could feel this one with your whole chest.

Verve’s 2026 programme is a big win for Artistic Director Matteo Marfoglia – the three works showing the strength of the dancers physicality, their acting, vocal work and versatility. For an audience the experience feels enjoyable, dynamic and thought-provoking, and above all cool.

Photos Elywel Photography

Celebrations, Music, Theatre

Review Sapphic Soirée, Del Fflur Productions, CABARET, Wales Millennium Centre by Megan Pritchard

Leave a comment

Sapphic Soirée artwork with photo of Lili Del Fflur by Tallulah Tog

There aren’t many shows where you smile all the way through, but that’s often the effect a Cabaret show has on me, so I was del-ighed to see Del Fflur Productions Sapphic Soirée. A sexy, silly and serious programme that had the audience whooping from the get go and on their feet dancing at the end.

The Sapphic Soirée was Del Fflur productions first time presenting as a solo venture on the CABARET stage at the Wales Millennium Centre, though burlesque fans in South Wales will know the name Lili Del Fflur well – as she’s been on the scene performing for a decade, and has been producing shows since 2023.

This show featured performers from across the Sapphic community in South Wales (women and non-binary folk who are attracted to women) and the cast’s talents were beautifully diverse featuring burlesque, song, live music and poetry.

If you’ve not been to a Cabaret show at the Wales Millennium Centre before, they are good fun – the venue is laid back, accessible and the seats are comfortable. You can drink and snack throughout and there’s something different a few times a week. Typically for Burlesque shows like this one, each act is broken up by some chat and comedy from a host. I often describe it as ‘tiktok’ for live audiences – if you don’t vibe with one act, there’s another one a few minutes later to wow you in a different way. It’s a great place to leave your worries at the door and have a good positive yell and cheer.

The cast of Sapphic Soirée, photo by audience member

For this event the host was Lili Del Fflur herself, who introduced each act with warmth and pride – this local grass-roots cast was hand-curated by Lili and it was clear she was proud to platform each one. That sense of warmth was immediately shared by the audience as Lili opened by ensuring everyone felt welcomed – noting with a winning smile that we would share in ‘Community, Creativity and the joy of seeing ourselves reflected on stage’.

Between the acts Lili would come back onto stage to introduce the next one, telling us about each performer and interacting with the crowd. At one point she hosted a glove-peel competition for two audience members who, though strangers, made friends immediately. That camaraderie was felt across the room throughout the night. Later Del Fflur briefly teared up as she implored the enthusiastic audience to use their votes wisely for our loved ones at the Senydd election next week – a sentiment met with cheers and applause – this was an audience that reflected the community they were a part of. 

The acts were well curated, balancing artforms and platforming new performers alongside professionals – both showcasing and growing the Cabaret scene.

The show opened with the non-binary finery Lana Del Red, known in Cardiff for their sexy routines and incredibly high heels – Lana didn’t disappoint with a red and pink themed number full of intense eye-contact, snake-like undulations and tiny undergarments. This routine cast a spell on the audience and was a great opener. For the rest of the night Lana also acted as stage manager for the show, setting up props and cleaning the stage after acts and keeping an eye on the performers needs – a hard worker indeed.

Next up was singer Little Lau who quickly had the audience singing along to some songs by WLW icons. Lau is a wonderful performer who accompanies herself on guitar. In the second half Laur returned to perform a passionate and personal poem about growing up as a Lesbian in the 90’s and the strength she found from her trans sisters – who we need to support now more than ever. This is a moment that the audience won’t forget and was met with a standing ovation.

Little Lau photo by Evita Pics

Across the evening we were treated to two performances by proudly plus sized performer The Dumb Belle who ‘never knowingly takes herself seriously’. Her ‘Heated Rivalry’ inspired hockey act was wacky and creative – ending with impressive rainbow hockey pads which I wanted to take home. In the second half she proved that any body can be a beach body with a fun summery routine complete with giant inflatable beach ball and audience participation. The Dumb Belle is a fun, flexible and expressive performer with a confidence and stage presence that easily guides story.

It’s hard to believe that singer Rosy Derrière made her stage debut last night – treating us to retro rockabilly versions of modern songs which were charming and fun. Dressed in impeccable pin-up attire, Rosy was accompanied by four adorable backing dancers (‘the Dels’ – a local troupe of dancers taught by Lili Del Fflur) as she crooned though ‘I Kissed A Girl’ as the audience bopped along. Only after she exited the stage did Lili tell us that it was Rosy’s first time singing on stage – a testament to the grass-roots platforming of new performers, and tutoring by Del Fflur.

Rosy returned later, joined by Lili herself dancing in a cheeky backless skirt as Derrière sang ‘All About That Bass’  – a glamorous and slick feeling act where the two worked beautifully together. A brilliant first outing for Rosy Derrière who I’m sure we’ll see more of soon.

Goldie Luxe photo by Evita Pics

Next, blonde bombshell Goldie Luxe treated us to a sexy and classical feeling red showgirl version of ‘I wanna make love to you’ in which she dances, strips and plays live saxophone. Not one to rest on a single talent, Goldie’s second act of the night was a stunningly expensive looking Cinderella act which includes live song, acting and real whip cracking. Goldie’s acts are always impeccably choreographed, smooth and tongue-in-cheek – encompassing the multi-talented glamour and ‘gimmick’ that makes burlesque so special.

Lili Del Fflur herself performed twice throughout the show – once with singer Ruby Derrière as mentioned above, radiant in purple and once with a high-energy driving and dynamic number to ‘What’s Wrong With  Being Confident?’ dressed in black and white striped prisoner costume. Lili’s professionalism and dance skills shine throughout – always alluring, expressive and light on her feet, you can tell Lili loves performing and it’s a joy to watch.

Lili Del Fflur hosting photo by Evita Pics

The show finished with Lili’s troupe ‘The Del’s’ who she trains in the South Wales Valleys. In ethereal white costumes and waving silk fans the Dels dance triumphantly to the song ‘Freedom’ – bringing the night to a close on a positive and uplifting note that was echoed by the warmth of the audience.
This was the sort of event where the performers and those watching them have a genuine exchange of energy that carries out into the night.

Whilst I often visit CABARET (WMC) to experience high-end performers from outside Cardiff alongside Welsh acts, it was nice to see an evening of local talent supported by professional sound and lighting so rarely available in other spaces across the city.

Cabaret and Burlesque is a growing genre in South Wales, and I highly recommend anyone try it – there are a handful of grassroots shows and professional companies in Cardiff and South Wales.

To see more of Del Fflur Productions visit here

Or to see other Cabaret shows by other producers at the Wales Millennium Centre visit here

Or to see all Cabaret and Burlesque shows are in the area visit here

Musical, Theatre

Review: Operation Mincemeat, Storyhouse, Chester by Richard Evans

Leave a comment

Avalon production company in association with SpitLip

Storyhouse, Chester, May 4-9, 2026

out of 5 stars (5 / 5)

What a story!  The real life events of Operation Mincemeat are nothing short of remarkable, a MI5 plan in 1943 to divert Nazi forces from Sicily to Sardinia to enable an Allied invasion of Sicily to take place with little opposition.  90,000 soldiers were moved on the strength of phoney intelligence found in a briefcase of a downed RAF pilot who was ‘planted’ off the coast of Spain.  However, would this translate to the stage, especially in the form of a musical?  On the strength of the standing ovation, it certainly does.  

The musical follows the events of Operation Mincemeat closely, MI5 agents vie for proposing a plan to fool the Nazi defences, an outlandish plan is accepted and then enacted.  A local coroner alerted MI5 to a homeless man who had recently passed away whose body could be used to construct a false identity.  A considerable backstory was invented for this phantom pilot including love letters and realistic documentation.  The body is let go from a submarine in the Mediterranean and when it is washed up onshore, an autopsy is carried out and arrangements were made for the briefcase to fall into the hands of the Nazis.   

The cast of five all take multiple roles in a fast moving production and work together excellently as a team.  It was hard to pick out a stand out performer but Christian Andrews excelled as Hester Leggatt and others, a soft spoken more elderly secretary.  Georgina Hagen as Ewen Montagu was brash and bullish, full of pluck.  Sean Carey was a wonderfully bumbling Charles Cholmondeley who came up with the outrageous plan yet was too shy to promote it.  Jamie-Rose Monk was forthright as Johnny Bevan, the overseer of the project and Katy Ellis was assured as the put upon Jean Leslie, a talented spy but who was often overlooked because she was a woman. 

The set was very clever, illustrating an operations room for the most part but then by the use of strategic lighting transformed at one point into a plane.  The choreography was slick and helped hold your attention and while the band was a small four piece unit, gave the feel of a wartime vibe.  

There were issues raised by the production.  The identity of the phoney pilot at times was dismissed as unimportant, a homeless man is a nobody apparently.  However, measures were taken to find his identity and make sure that there was no surviving family who may be looking for him.  Eventually his identity was recognised and the Commonwealth War Graves Commission added his name to go with the false identity of the pilot on the memorial in Spain.  Montagu at one point was suspected of being a Soviet spy, passing documents to his brother who was a communist.  This turned out to be a screenplay, but the prospect kept the plot boiling with intrigue.

It is hard to do justice in describing this musical.  Despite being a complex story, it works wonderfully well and became a dazzling production, picking up on public school attitudes amongst the officers and communicating the story really well.  It deserves to become a must see production for anyone with an interest in theatre, musicals or the history of world war 2.  

Theatre

Review Under Milk Wood, Theatr Clwyd, Sherman Theatre by Bethan England

Leave a comment

out of 5 stars (4 / 5)

‘To begin at the beginning’ is a very apt quote from Under Milk Wood, for this groundbreaking first production from the Craidd Collaboration. A cohort of organisations; Pontio, Royal Welsh College of Music and Drama, Sherman Theatre, Theatr Clwyd and Torch Theatre, coming together with the aim of putting ‘access and inclusion at the core of theatre in Wales.’

Without a doubt, this is easily one of the most accessible and inclusive pieces of theatre I have ever witnessed, which is proven by the vast variety of the audience members around me as I take my seat. The play has been reinterpreted anew, with almost every line interpreted into BSL and every line appearing on the screen behind the performers. But it is not in any way stilted or apparent that you are watching an ‘inclusive’ piece, so well is the inclusion interwoven into the production. The opening sequence of words and BSL is so beautiful and moving. The words appearing on the screen are not just standard type, they live and move as much as the words do; enlarged text when there is emphasis or shouting, sometimes to very comedic effect, words twinkling and disappearing, words weaving across the screen as magical and thought provoking as the way they are delivered verbally. Huge credit must be given to everyone involved in this especially BSL director, Adam Bassett, but also the whole production team who breathed life into this truly stunning piece of diverse and representative piece of theatre.

The strange, colourful, delightfully naughty insight into Thomas’ imagination is brought to life by an incredibly talented ensemble of actors both able bodied and disabled. They all multi role with deftness and speed, at the drop of a hat (quite literally in some cases!), a definite Brechtian feel to the piece as their different characters appear and disappear with the change of a costume, sometimes even mid scene. It would be unfair of me to call any one of them out individually, as they all bring something truly unique to the piece, as unique as the individuals who tumbled from Dylan Thomas’ mind into Llareggub.

The set design is truly beautiful and captures the very essence of the town, houses tumbling together in the rag tag manner of the terraced houses of the Welsh Valleys. So important are the houses to their inhabitants, so much a part of who they are, that they form seats, steps, tables, lidded boxes and even appear on the heads of Mog Edwards and Myfanwy Price as they confess their love to one another. The set is immersed in the performance; clambered over, sat upon, danced amongst. I was enamoured with it all and kudos to all involved in this truly dreamlike production; director, Kate Wasserberg, set and costume designer, Hayley Grindle, AD and Dramaturg, Katie Elin-Scott, Movement Director, Laura Meaton and the many other individuals who have brought this truly leaping to life. A special mention must also be made to the Composer, Oliver Vibrans and Musical Director, Lynwen Haf Roberts for the lovely, haunting melodies they have brought to the piece.

What is truly magical about this piece and the penmanship of Thomas is the mirror that it holds up to our own humanity. Especially here, with joyous inclusivity and diversity. We are, like the inhabitants of Llareggub, ‘not wholly bad or good, who live our lives under Milk Wood,’ and it is this that makes the production one that will stay with me for a long time. Its humanity is beautiful in its flaws and the rapturous applause along with the silent, but enthusiastic applause of the deaf members of the audience really shows that this production has something for us all.

Theatre

Review Under Milk Wood, Theatr Clwyd, Sherman Theatre by Andy Stroud

Leave a comment

out of 5 stars (4 / 5)

First performed in America in 1953, and broadcast posthumously as a radio play by the BBC in 1954, Under Milk Wood has had many adaptations for the stage. This is the first time that accessibility has been integral to the performance and design.

The production is part of Craidd, a collaboration between five Welsh organisations working to improve mainstream representation of Deaf and disabled people both on and off stage across Wales. This staging uses integrated British Sign Language (BSL) and captioning.

This means that accessibility is literally centre stage at many times and fully incorporated into the staging. BSL trained actors are key to the delivery. use is made of video and back projections to magnify some of the action on the stage. Text is not standard surtitles but rather animated and colourful, shifting and dissolving – enhancing the experience for most in the audience.

As a seeing and hearing member of the audience it’s at times difficult to know where to focus the attention. This is a recognition of how compelling the different aspects of the production are – the imaginative captioning text which is difficult to keep your eyes off but also wishing to constantly refocus on the considerable skills of the actors. You get better at that as the play progresses. This type of accessible theatre, built into its design at the outset, can be potentially engaging for all members of the audience.

It’s an excellent ensemble piece (with each actor playing multiple roles), fast-paced and funny, musical and magical with a dizzying array of characters. This is not a conventional play in terms of plot or narrative drive. An omniscient narrator guides us through the lives and loves of the villagers and this along with interconnected vignettes advances the action. Scene settings, of which there are many, are suggested by precise lighting and sound design along with creative props. The pace of constant change makes this demanding stagecraft but it feels effortless.

Hayley Grindle’s set and lighting are stand out. The cottages imagined as oversize doll’s houses, sometimes ordered, other times in disarray, depending on the time of day, often providing a glorious warm glow to proceedings.

Kate Wasserberg has not shied away from the darker, at times uncomfortable, themes in the play, more prevalent in Part 2. ‘There’s a nasty lot lives here when you come to think.’ gets one of the bigger laughs of the evening. A lot more than mischief is hinted at in the lives of the community.

At the end we are full circle, another night is approaching. Something very like this will be happening tomorrow.

This staging captures and amplifies the play for voices – tender and poignant, funny and irreverent, lyrical and bawdy. Theatre Clwyd’s Under Milk Wood is a captivating imagining of Dylan Thomas’ masterpiece.

Andy Stroud

Credits

Creative: Hayley Grindle (Set and Costume Design), Katie Elin-Salt (Associate
Director & Dramaturg), Laura Meaton (Movement Director), Adam Bassett (BSL Director), Joshua Pharo & Sarah Readman (Co-Lighting, Video & Creative Caption Designers, Oliver Vibrans (Composer), Lynwen Haf Roberts (Musical Director), Liam Quinn (Sound Designer), Jacob Sparrow (Casting Director).

Production: Suzy Sommerville (Production Manager), Alec Reece (Stage Manager),

Theatre

Review: 2:22 A Ghost Story, Venue Cymru, Llandudno, by Richard Evans

Leave a comment

Runaway Entertainment, written by Danny Robins, directed by Matthew Dunster & Gabriel Vega Weissman

Venue Cymru, Llandudno, April 27 – May 2 and on tour nationwide

out of 5 stars (3.5 / 5)

2:22, a ghost story or a debate over whether the supernatural is an actual phenomenon?  The premise behind 2:22 a Ghost Story is rich with potential,  a couple with a new baby move into their intended forever home yet while one partner is away, things start to go bump in the night.  On his return, they invite a good friend and her new boyfriend in for dinner and ask them to investigate the sounds which seem to occur at 2:22 in the morning.  Cue the shrieks, flashing lights and blackout.  

The cast do a great job in telling this story, each character has a well defined persona revealing multiple layers as the play develops.  James Bye plays the arch sceptic, Sam, who seeks a scientific explanation behind every event, natural or supposedly supernatural, Shvorne Marks plays the angst filled mother, Jenny, who has a faith based upbringing making her open to the supernatural. Natialie Casey plays Lauren, the old friend who holds more than a candle to Sam tainted with a sense of frustration as he once laughed at her when she told him about a meaningful, perhaps ghostly experience.  Grant Kilburn plays the new boyfriend Ben who is local, working class and seemingly less sophisticated than the others but who believes in the supernatural.  

The set is simple, an open plan kitchen/dinging room that is in the process of being redecorated after they have ripped out several walls to make it open plan.  Have they upset the lingering memories of families who have lived there before and who now return to haunt them?  We are led to believe this is the case, or perhaps the strange noise emanate from some urban foxes who are hugely vociferous, often in a sudden way.  

As the play develops and time draws near to 2.22, the fear that there is something out there trying to get to them grows.  The suspense is built when windows are opened unexpectedly, a teddy bear is moved into the bathroom and is found soaked in white spirit with no apparent logical explanation.  Sam interjects and tries to dampen down these feelings arguing for a rational, logical explanation for these strange goings on.  His arguments are powerful even though he is opposed by the other three.  

It seems the presuppositions Sam holds are that this world is thoroughly materialistic, there is no supernatural and that the universe is filled with chance events that people unite in their minds to find meaning and purpose.  While this viewpoint seems normative in the scientific community, there are alternatives.  Some believe that there is a supernatural world with some power behind it who uses chance to allow the universe to develop.  But being intelligent, the chances are loaded towards complexity and purpose.  Both options among others remain possible.   

Of course we are not allowed to tell others the dramatic nature of the ending, but therein lies a problem.  The play asks us to consider that when people talk about a person who is not there, their recollection becomes so real to them that they believe that they were actually present rather than a memory.  This stretches credibility.  The play also uses a lot of dialogue to explore the issues surrounding the supernatural, but then throws in some random screams to change scenes and to keep people jumpy.  This became tiresome.  

While there are problems with the storyline this does not alter the fact that this remains a watchable, engrossing performance that holds the attention of the audience and gives them a few things to think about in their ensuing sleepless nights waiting for that bump in the night.

Opera & classical

Review Wozzeck: Wretches Like Us, London Philharmonic Orchestra, Royal Festival Hall, London by James Ellis  

Leave a comment

Photo credit: Pete Woodhead 

out of 5 stars (4 / 5)

My last flutter in London would be a third and final night at the Southbank Centre for further Multitudes fare. In what might have been the most fascinating piece out of these events comes great power and also flaw. The London Philharmonic Orchestra have truly had remarkable, crushing moments in Alban Berg’s Wozzeck, an opera not for the faint of heart. This for me, is a first in opera, where the experiments made in the pit and voices meets the dramatic tension of the narrative. Berg was rather clever and his atonal scores remain an alluring mystery. 

I often look back at the Olivier Award winning, Welsh National Opera production from Richard Jones, the first new feat at the Wales Millennium Centre. My intro to the opera has never left me and the horrendous sense of dread and pain in this never leaves you. Conductor Edward Gardener is such a good man, young at heart and firm on the podium. For this remarkable feat, this one off concert would crackle and blast thanks to the vast orchestra. Any one familiar with the play Woyzeck by Georg Búchner, will know the story, Werner Herzog’s film version echoes this. 

This spirit tearing drama is in three tight acts, roughly ninety minutes straight through. Wozzeck the solider is pushed around by all who know him: the Captain, his Doctor, his wife Marie and many others. Treated like muck, he never catches a break, his mind breaks and after discovering Marie has cheated on him with the Drum Major, only bad things could happen. As the title character, Stéphane Degout is dark and a ticking time bomb, the baritone role is bloody hard work for anyone who dares. Annette Dasch as Marie had moments of seduction yet I feel she was over shadowed here (we will come on to the video side of things shortly). Another dense role, Dasch comes and goes in the plot, she shone in the horrendous murder scene in the last act. I shall discuss supporting role shortly. 

My heart sunk when seeing some of the promotional material for the video work for Wozzeck: Wretches Like Us. Ilya Shagalov and co-creator Nina Guseve have taken a gamble and this has not reaped reward. A slideshow of artificially generated imagey was not on my bingo cards to see at the opera this year. It would appear that AI is becoming such a homestay in our culture. I’m worried about this. The lack of creativeness, the environmental issues and more. Most of these slides saw a contemporary take as Wozzeck is doing various key worker roles, as we see council houses and other British culture staples. Photos as film maker Chris Marker might be envisioned or perhaps the raw, grunginess of Richard Billingham. I was left cold by most of it, amazing how so much AI material is made online, you just don’t want to know. Some of the subtitles were not visible at moments due to the frequency of the image change and the colour of the words. 

A large cast got down and dirty in this operatic masterpiece. Peter Hoare is always a great comedic Captain, a role he has done for years. A sour Doctor from a rough and strict Brindley Sherratt is another fine supporting part. Christopher Ventris is the seducing Drum Major, Eriik Grøtvedt as Andres is the worried friend of Wozzeck, singing with a rising determination. Margret played by Kitty Whately was catty and nosey, as the brief neighbour, vocally quite refined and the wittering sprechgesang also wonderful. Adrian Thompson gets a disquieting solo as The Fool, one highlight of many in this mini opera. The London Voices are bar patrons and their ladies too, got on as a harsh and vengeful mob. The Tiffin Boys Choir break our hearts with the final scene, which remains unforgettable. Just no to AI, if you please! 

Mulituides continues till 30th April 2026. 

Dance, Opera & classical

Review The Art of the Fugue, Circa & Australian Brandenburg Orchestra, Queen Elizabeth Hall, London by James Ellis

Leave a comment

Photo credit: Pete Woodhead

out of 5 stars (3 / 5)

As the Multitudes fest continues at the Southbank, I must confess some displeasure. I vastly recommend the festival produce a brochure like they did last year. A member of staff lamented that forty-five people had expressed this disdain. A theme there! I loathe PDF links to pop on my phone, for reviews the physical form is easier. Even just having a physical ticket is also a thrill. Let’s make this happen.

After the ecstasy of a cinematic Turangalîla-Symphonie the night prior, we’d get an international flight from Circa and the Australian Brandenburg Orchestra. Heralding from Melbourne, both groups have impressed with what their city can offer. Can dance, by way of circus meld with Baroque? Paul Dyer on harpsichord, artistic director would play off and on (some moving minature organ playing would feature also), yet the string players get the distilled meat and veg meal of the work. Bach’s last work remains a mystery. Is the last page missing? How would it have faired in performances in his own day? How could this work with movement?

The artists in Circus impress with feats of physical prowess and endurance. Yet, I did ponder where was the emotional core to the whole thing? Many attempts of acrobatics on top of one another, with resting posting upon the lower persons head and other body parts was tense, truly. You were witness to the strain this had upon the person below bearing the weight of the those above. Many leaps and lunges, as other dancers either capture or let’s those in flight plunge. Some aspects of connection featured, many homoerotic phases came and went, the ladies have stand offs and solos too.

Within these tensions made seeing these players stack themselves up two stories is both alarming and gripping. Yet how many times do we want to see this in a work at an hour and a half in length? Many lucid gatherings saw these dancers swept away en mass as they hardly touched the volcanic ground. Choreography by Yaron Lifschitz, holds many ideas, some work, some don’t. I think it might be recommended a touch more variety come out. Maybe its because I’ve seen seeing the work of Pina Bausch at Sadler’s Wells and the idea of movement is challenged and embraced together. Was my mind elsewhere?

The orchestra are soft, gentle in their playing. No trip ups, yet they feature a subtle ear I’ve heard little of over the years. This might not be Bach’s most clever nor emotional work, I dare say other pieces from the great composer would fare better with Circa (Goldberg Variations, the Passions etc). I do enjoy the collaboration between artists in varying fields, uniting as one. Though this paying off, might pehaps be another other discussion…for another time.

The Art of the Fugue continues till 25th April 2026.

Multitudes continues till 30th April 2026