If you’re not aware of BOM. It’s a musical comedy with music, lyrics, and book by Trey Parker, Robert Lopez, and Matt Stone (South Park & Frozen). It follows two Latter-day Saints missionaries as they attempt to preach the faith of the Church to the inhabitants of a remote Ugandan village.
Simple premise for a musical, I guess. The best way to describe it, is someone took a book of Musicals For Dummies, copied different musical ideas, used the comical genius behind South Park (not forgetting Robert Lopez who’s part of the team that have brought us Frozen & Coco), and you have one of the funny & cleverest musicals of the last decade.
In saying that, this isn’t for everyone. The subject matter itself could be controversial, but I’ve another perspective. It’s not about one religion, it might be named after one, but the tone and material itself is about all religion, and the basis of it – a belief. It doesn’t say one religion is bad, and one is good, it just says your beliefs are yours – there are no wrong or right answers.
Having seen the tour which came to Cardiff in 2021, and in London in 2017, the current cast of the Summer of 2023 are quite possibly my favourite by a long way.
Steven Webb shines as Elder Mckinley – which isn’t a major part but steals the show with his asides and quirks that he’s brought to the role. Ben Tyler and Connor Pierson, Elder Price and Elder Cunningham also remain a huge highlight, and the ensemble were also on point.
Overall – I believe, Book of Mormon, is much better than any golden plates!
Hairspray at the Wales Millennium Centre in Cardiff was an absolute whirlwind of fun, energy, and infectious joy. This production captured the essence of the 60s with a vibrant, colourful, and over-the-top spectacle that left the audience cheering and dancing in their seats.
From the moment the curtain rises, you’re transported to Baltimore, where the rhythm of the music and the infectious enthusiasm of the cast immediately grab your attention. The iconic songs, including “Good Morning Baltimore,” “Welcome to the 60s,” and the show-stopping finale “You Can’t Stop the Beat,” were delivered with powerhouse vocals and impeccable choreography.
The heart of the show, of course, is Tracy Turnblad, played by Alexandra Emmerson-Kirby in her professional debut. She was just sensational. Her incredible voice made her the perfect embodiment of this beloved character. The supporting cast was equally impressive, with standout performances from Edna Turnblad (Neil Hurst) and Wilbur (Dermot Canavan) certainly stole the show with “(You’re) Timeless to me”. Michelle Ndegwa also made her professional debut in the show as Motormouth Maybelle having been selected from more than 3,000 people who applied to the open auditions in November last year. “I know where I’ve been” is such an emotional number and to perform it in the way Michelle did, wow!
The set design was simple but visually stunning, capturing the spirit of the era with colourful projected backdrops and eye-catching costumes. Most touring shows follow the same process – and Hairspray delivered. The choreography was energetic and fun, with the ensemble dancers bringing a high level of skill. The show start seemed a little laboured and it probably wasn’t till the second number things started to gel.
I’ve said that I believe Hairspray has one of the most incredible show finales – even better than Les Misérables – granted no one dies in Hairspray and it would be like comparing a Mini with a Porsche. But it certainly leaves you with a smile on your face and a spring in your step. It’s a feel-good show that’s the perfect antidote to a bad hair day!
The Adventure Zone: The Suffering Game is the newest release in the TAZ Graphic Novel series, a book series spun from their first iteration of the story, through playing DND for a podcast. I’ve loved this podcast since I first heard it, and it’s incredible to relive and re-experience the story with a fresh new look and some changes to the story after time has elapsed.
Suffering Game is the sixth book in the series of (what I think will be) seven total, and the sixth arc of seven in the podcast’s original storytelling. And though my softest spot is for TAZ: The Eleventh Hour (which is arc five), this is a close second. The ramping tension and upheaval of the stakes in this arc is fantastic, and I love how well it was put to paper in this novel.
The art and transition to paper that this arc takes is fantastic; the drawings and attention to detail is done to an exceptionally high standard, and the movement of the story into book form is really well done. That being said, there are some omissions in the book from the original podcast story, and some of them are moment that I miss greatly, but understand wholeheartedly why they were removed. A lot of it is to do with streamlining, naturally, and things like “trimming the fat”, but it was “the fat” that I liked the taste of best. There are things removed from the character’s arc that I understand – removing these aspects is fine since they technically don’t lead anywhere. They’re superficial aspects (character’s looks being sacrificed to the game, character backstory going unexplored) because, ultimately, they don’t serve any purpose in the finale or wider story. Which is fine. Except for, I miss them. But it is fine.
This story as a whole means a lot to me, I’ve always really enjoyed it, and I still do. I like it in both audio and visual form. The art by Carey Pietsch is fantastic (as it always has been), and the writing works brilliantly to invoke its origins, keep the pace, and make you laugh. Which it does!
It’s an excellent graphic novel – though maybe not as an entry to the series (would be hard to start a series at the penultimate!). Though I think that part of my five stars comes from nostalgia and old love for the material, I still think it deserves that ranking. It’s a great book, an easy read; the art is fantastic and it’s fun to look for the small details across every page.
The BBC sitcom ‘The Vicar of Dibley’ is a representation of British comedy at its finest. They just don’t make comedy like it anymore so what a treat it was to find that the well known show had been adapted from screen to stage.
The Vicar of Dibley follows the journey of a confident female vicar with a huge personality, as she becomes the vicar of the church in a small, conservative village where her presence is not, at first, welcomed.
Walking into ‘The Mix’ at Theatr Clwyd, we were met with a simple set that was effective in supporting the cast to tell the story. Scenes moved between the Dibley Parish Hall, the church vestry and the Vicar’s living room. Particular effort had been made to ensure that each set was instantly recognisable, and certain aspects could be likened to the locations seen on our screens. Lighting was used effectively to complement the set. For example, the stained glass church window that was lit from the back to highlight its beauty, and the light that changed as the door to Geraldine Granger’s (Nicola Simonds) living room opened and closed.
A particularly nice touch was the invitation given to the audience to join in with the hymn during one of the church service scenes – song words were included at the back of the programme. This provided audience members with a well received, immersive experience. Unfortunately, the decision was made not to use microphones during this performance which did, at some points, hinder the flow of the dialogue. The volume of the laughter after some of the comedic lines meant that the next line was missed by the audience.
The casting of this production was excellent and it was evident that each cast member had studied their character, and their characteristics. Alice (Sara Griffiths) and Hugo (Luke Crofts) were particularly convincing- their on stage double act was hilarious and they were extremely well received by the audience. Owen (Ben Wheelhouse) and Frank (Eric Jones) were also instantly recognisable as the much loved characters that once graced our screens.
A huge congratulations to the cast and crew of this production. The team is small, but evidently mighty. My first experience of watching a Phoenix Theatre Company production and, God willing, it won’t be my last!
An orchestra must play as an act of defiance. Few would deny this upon seeing the Ukrainian Freedom Orchestra after their invasion from Russa back in 2022. The Songs for Ukraine Chorus are also made up one hundred and sixty singers, of those effected by the conflict. Prior to this all consuming concert at St Paul’s, a few speakers told of the importance of these musicians. Most telling, was General Valeriy Zaluzhny, UK Ambassador to Ukraine, who spoke of the utmost urgency of the events occurring in their home country. Having also followed other conflicts since, it really hit me hard just how impactful this has been to the world.
A fine opening with Bucha, Lacrimosa by Victoria Vita Polevá, which detailed the massacre Russia commit in spring of the year of invasion. With violinist Marko Komonko, this was deeply impactful…I was lost in the emotion the whole thing. Not dissimilar to Arvo Pärt and John Tavener, a feeling of the sacred minimalist took over the massive space. Terrifying metallic percussion stood out and possible electronics were a softer fiber in the overall orchestration. Komonko played stupendously. A gentle handling of the strings and their harmonics was another compelling element. Polevá took a bow at the end and proves she is a composer to watch out for.
Two hundred years have passed since the advent of Beethoven’s 9th Symphony, sometimes dubbed the ‘Choral’. Often used as a marker during times of conflict, this was particularly hefty with these players. Conductor Keri-Lynn Wilson graciously led all through the epic piece: its primordial opening, melodic pixelations, piercing melodic bite and earthy ruminations. The acoustics of the cathedral did frequently blur the focus, yet other times its vapours were highly rewarding. I’d say the last three movement had passages were the sound worked but other bars were like mush. We can leave that aside thanks to the context of the evening.
Also sung in Ukrainian, adding extra layers and personal touches. The four soloists Olga Bezsmertna, Natalia Kukhar, Valentyn Dytiuk and Andrii Kymach wowed with their respective sung momentum. Kymach in his baritone, may have been at the mercy of acoustics, though often delighted with a burr, you’d expect from the range. Olga Bezsmertna had a frequent smile on her face, lost in the music, soaring notes she fared very well in and constantly engaged with the audience. Natalia Kukhar as mezzo added to the pot, her time with Olga some sweet, touching remembrances. Tenor Valentyn Dytiuk, got a famous, cheery solo with an almost ommpa band styling, towards the end, a voice that you want to hear again. Of course, the recognisable Ode to Joy, left me highly moved and this crowd loved what they heard. The lady sat behind me also remarked about the acoustic, though stated the concert was “symbolic”.
An encore by Yuri Shevchenko: WE DO EXIST! was a paraphrase to the melody by M. Verbytskyi (National Anthem of Ukraine) for violin and strings. All stood for what we assumed was a more traditional take in the anthem, though this version was eerie and chilling. A concert for the history books.
Venue Cymru, Llandudno July 30th – Aug 4th 2024 and touring
(5 / 5)
Irene Sankoff and David Hein
Smith & Brant Theatricals, Red Hanger, Gavin Kalin Productions, Tulchin Bartner Productions, Echo Lake Entertainment, Square Peg, Stephen and Paula Reynolds, Fiery Dragons, Judith Ann Abrams/Peter May, Nancy Gibbs, Curve Leicester
Come from away documents a remarkable experience. As the tragedy of 9/11 unfolded and American airspace was closed, many planes had to make unscheduled landings in far flung places. 38 of them landed at Gander airport, Newfoundland.
With a population of about 9000, the local community found themselves hosting 7000 unexpected incomers with a range of different languages, customs, medical and dietary needs. There were also 19 animals including a pregnant bonobo ape. This was a refugee scenario where the hosts were entirely unprepared. The days that followed demonstrated the best in human qualities. Food was drummed up, beds found, activities were organised such that lasting friendships were formed that have been sustained to this day.
Would the stage be the best place to retell these events or would a film be better? On the evidence of this performance, the energy and immediacy of the stage is a great platform and the cast exploited this story in excellent fashion. It was a prime example of ensemble theatre, a close knit team working together in a fast moving, intense drama. Actors do an outstanding job as they switch roles from hosts to incomers seamlessly and retell these events and their aftermath. There is a great backing group playing a range of Irish-Canadian melodies to enhance the action.
The individual stories invoke a range of emotions when you hear them. Diane and Nick were on the same plane, met and the following year got married. Hannah was worried for her son, a firefighter in Brooklyn yet was comforted by Beulah who also had a firefighting son. It is in the minutiae that the poignant moments rest. A moment when a Christian song, a Muslim chant and a Jewish incantation are heard as people pray, emphasising the importance of faith in coming to terms with life experience. A scene where an older gentleman reveals to a Jewish rabbi that he had a hidden Jewish background dating from his early life in Poland. Two people communicating through the use of Bible references to encourage each other when they had no shared language.
The welcoming nature of this Canadian-Irish community is graphically shown in the ceilidh held one night. It saw some visitors inducted as honorary Newfoundlanders through ‘screeching in’, drinking a shot of Irish whiskey and kissing a fish, a custom used to welcome new cast members to the show. This to me is an enduring legacy of a must-see show, the power of community. Had this town not been as tight nit and warm in its embrace, the experience of the incomers might have been quite different. As it is, they felt an immense debt of gratitude but in attempting to express this, received a standard response, ‘It was nothing, anyone else would have done the same.’ It was not nothing, it was remarkable. This makes the show a privilege to watch.
Born in Detroit, Michigan, on March 30, 1949, Lili-Marlene Premilovich, later known as Lene Lovich, became one of the most relevant figures of the New Wave and Post Punk movement during the late 1970’s- Lovich moved to England when she was 13 and in 1978 she released her most popular album “Stateless” that produced the hit “Lucky Number”, her signature song. Side by side with German artist Nina Hagen, she became one of the earliest female singers to embrace the alternative side of the Punk culture. Lene Lovich remains active, touring and with several side projects and bands.
Preceding Lene Lovich’s emergence onto the music scene, with her 1979 hit new wave single “Lucky Number”, her existence was already engulfed by her insatiable appetite for the visual and performing arts. In autumn 1968, with her partner– Les Chappell, she went to London to attend art school. From there, Lovich attended several art schools and lingered through the London Underground; she also performed in cabaret clubs as an “Oriental” dancer and journeyed to Spain where she visited Salvador Dalí in his home. She continued to grab at any artistic opportunity that came her way, such as recording screams for horror films and writing lyrics for French disco star Cerrone (including the sci-fi dance smash “Supernature”, which Lovich later recorded). She also worked with various theater groups and a few short-lived musical acts, such as the funk group the Diversions, and an all-girl cabaret trio the Sensations. Alas, the new wave music genre disappeared as did Lovich but her distinctive persona continues to prevail as it has impacted several musicians and musical groups, such as Siouxsie And The Banshees, Gwen Stefani, Karen O, Björk, PJ Harvey, and The Dresden Dolls
Her hit single “New Toy” was written by Thomas Dolby. Dolby penned the song specifically for Lovich, after seeing her perform live.
In 1989, after an absence of several years, she recorded the album, ‘March’ which was only moderately successful and was not released until nearly a year after the album’s single “Wonderland” had been issued and become an American dance hit. Lovich continues to perform in much the same style she did back in the 1970s and 1980s, with Les Chappell at her side. In 2005 she appeared on Hawkwind’s Take Me to Your Leader CD, as well as appearing occasionally on stage with them.
Lovich’s first album since March, entitled ‘Shadows and Dust’ received a limited release on Mike Thorne’s Stereo Society label on September 13, 2005.
She played at the Royal Festival Hall in London for the Meltdown festival, curated by Yoko Ono. The same year, she established her own publishing label, Flex Music, and released a re-mastered versions of all her previous albums in a limited edition box set. She made a guest appearance with The Dresden Dolls at The Roundhouse which is featured as an extra on their DVD Live at the Roundhouse. and contributed to the opera ‘The Fall of the House of Usher’ (1991) by Peter Hammill and Judge Smith, singing the part of Madeline Usher.
Lene Lovich appeared on Hawkwind’s Take Me to Your Leader CD, as well as appearing occasionally on stage with them. Lovich’s first album since March, entitled Shadows and Dust, received a limited release on the Stereo Society label on 13 September 2005. She played for the first time in many years with a full band at the Drop Dead Festival in 2006.
In 2007, MVD Visual released Lene Lovich: Live from New York, a DVD featuring a performance Lovich gave at Studio 54 in 1981. In late 2007, both Lovich and Chappell produced a new edge recording of their hit “Lucky Number”. The version was performed by rock group Eastroad, and was used by the BBC for its coverage of the 2008 World Snooker Championship.
In 2011, Lovich sang the part of Eurydice in the songstory Orfeas by Judge Smith. In 2013 she sang on the albums Zoot Suit by Judge Smith and Gridlock by Mr Averell.
In 2012, Lovich began performing with a new band comprising Subterraneans frontman Jude Rawlins on guitar, bassist Lydia Fischer, keyboard player Kirsten Morrison, and Morgan King on drums. The band made their live debut at London’s famous 12 Bar Club on 29 October that year. In 2013 the band undertook their first high-profile tour, concluding with major sell-out shows in London and Berlin, and was the 5th act to be announced for Rebellion Festival 2013.
Lene Lovich is now working with her current line up and is continuing to play festivals and shows as demand is ever increasing for this much loved iconic performer!
Lene Lovich – Vocals
Stan Greenwood – Guitar
Val Gwyther – Bass
Morgan King – Drums
Black Marine – Keyboards
DAS FLUFF Biography:
DAS FLUFF is Post Punk Electro Filth
Erotic, Avant-garde and mesmerising … ever-changing mood swings, be it doom, punk, sexotic, hypnotic, or “I wanna kick your ass!”
(Ox Fanzine)
Das Fluff have stormed through a prolific decade of touring around the world with headline gigs and releasing 5 albums along with an array of countless critically acclaimed promo videos. The heady combination of Das Fluff’s trademark electronics and blade-like verse activate the adrenaline rush of dance or flight. Das Fluff is the feral spawn of frontwoman Dawn Lintern, the band’s writer and arranger.
Long-time collaborator, Christian Ruland, brings cutting edge creative electronic experimentation to the band’s live sound with ever-evolving combinations of media including theremin, pedals, samplers and Kaoss pads along with his distinctive projections.
Das Fluff have supported post-punk luminaries such as Viv Albertine, Lene Lovich, Toyah, Clan of Xymox and Lydia Lunch and toured extensively in Europe, the US and Asia.
If you danced your hearts out to Trent Reznor’s works and listened to Soft Cell in your bedroom then this is for you.
(Fighting Boredom)
Adding punk edge to the surging beats of Numan and Depeche Mode inspired electro, with a bit of Throbbing Gristle chucked in for good measure.
This type of electronica is providing more lyrical and stylistic risk taking which Das Fluff and others such as The Knife and Gary Numan are willing to take.
Dawn of Das Fluff: COLD SLICE are Leon Brown’s thought provoking Electro Blues project from London Town. This tour will see him perform his own unique material and will be his first solo tour since his last project All Flags Are Grey!
I must admit, I am a bit of a purist when it comes to sticking to the original score and production values of a piece of musical theatre; these shows are of their time and representative of the period that they were written and set in. The Wizard of Oz, especially, is a well-loved, exceptionally well-known film and show; it’s on every Christmas after all! Everyone knows the songs, the characters, the story of the young girl from Kansas who flies over the rainbow to the land of Oz, meets an extraordinary group of friends, vanquishes not one, but TWO Wicked Witches and learns the true meaning of home.
This production is based on the London Palladium version from 2023 and features new songs and orchestrations from Andrew Lloyd Webber and Jeremy Sams. The new songs add to the story well; giving Dorothy a bit more reason to be looking to leave her Kansas home in ‘Nobody Understands Me,’ providing the Wizard with a techno catchy number in ‘Bring me the Broomstick,’ adding an excellent villain song for the Wicked Witch in, ‘Red Shoes Blues’ and a heart wrenching final song in Oz, ‘Already Home.’
It’s not just the score that’s new; the production has an altogether faster pace, high octane dance numbers, new orchestrations of the original songs (without losing the flavour of the originals but allowing their performers to shine) and a bright, colourful visual element which mostly revolves around the moving projections behind and, sometimes in front of, our cast of characters. As a musical theatre fan, I really loved the references on the projections, ‘Margaret Hamilton the Musical’ featuring the original actress who played the Wicked Witch in the film, ‘The Lahr King’ referencing Bert Lahr who played the original Cowardly Lion! There’s also a Frozen the Musical logo (replacing ‘Frozen’ with ‘Emerald,’) ‘Munchkin the Musical,’ an homage to ‘Hairspray’ and many more. It’s not just Musical Theatre references to catch the eye, however. The projections mention the Great Depression, the dust storms that hit farmers in the south of America in the 1930s and other topics of the period; Kansas and Oz truly come to life in this smart set. The tornado is excellent, transforming the farmhands into their Oz counterparts as well as Miss Gulch to the dastardly Witch. The stuttering images and elements from Dorothy’s own life back in Kansas really add to the dream element of the story; it’s really as if she has created the fantastical landscape from the gas pumps, empty food cans, junkyards and more of 1930s America and created her very own place over the rainbow.
The cast is excellent; obviously there is the celebrity casting of Craig Revel Horwood as Miss Gulch and The Wicked Witch of the West and Aston Merrygold of JLS fame as the Tin Man and Hickory, who are both fantastic, but the whole cast and ensemble are an asset to show.
Craig Revel Horwood is an imposing, statuesque Wicked Witch, stalking the stage in purple boots and switching from sassy to terrifying with ease. He owns the stage whenever he steps onto it; terrifying the children one minute and having everyone in stitches the next. ‘Red Shoes Blues’ is a great moment of theatre, surrounded by his dancers, he really nails the song, belting it out with ease.
Aviva Tulley is a wonderful Dorothy and performs the best rendition of ‘Somewhere Over the Rainbow’ that I’ve heard. She is her own unique version of the character, whilst capturing the wonder and innocence of Judy Garland in the original film. She is the glue that holds our hapless heroes together and is an inspiration to all the little ‘Dorothys’ in the audience.
As the Scarecrow, Benjamin Yates shines. His comic timing is impeccable, his voice soars and he is an exceptional dancer, capturing the Scarecrow’s movements with ease. His facial expressions alone had the audience in fits of laughter and his relationship with Dorothy is lovely to behold. Aston Merrygold is a very good Tin Man; his dancing, in particular, (choreographed for this new version by Asley Banjo) inspires cheers and whoops from the audience. His performance is heartfelt and sweet, and I loved the new version of ‘If I only Had a Heart’ which showed off his vocal skills excellently. Finally, Nic Greensheids as the Cowardly Lion; it’s like watching Bert Lahr from the film. The mannerisms are captured perfectly, his voice is excellent and he had me in stitches from the moment he pounced onto the stage.
Emily Bull switches with ease from Aunty Em to a very ‘Wicked-esque’ Glinda, resplendent in sparkles, onboard her hot pink scooter. Her voice is gorgeous and she hits those top notes with such ease even as she rides across the stage on her new mode of transport. Alex Bourne is a loveable rogue as Professor Marvel and the Wizard; his number ‘Wonders of the World is delivered with much style and panache and his Wizard is excellent. David Burrows is a sweet Uncle Henry, bemoaning taking in Dorothy but being her biggest protector against Miss Gulch. He completes the pairing of Em and Henry with ease, as well as taking on other multiple roles throughout the production; a veritable chameleon on stage.
I must give special mention to Abigail Matthews as Toto…the highest praise you can pay to a puppeteer is that you forget that they are there and you really do in this production. Toto becomes a fully fledged member of the cast, a living, breathing cairn terrier, prancing across the stage and getting into all sorts of mischief along the way. The little moments of brilliance, which may go unnoticed by most of the audience, kept me enraptured; the noticing of his own reflection in Glinda’s shiny scooter, the soft wagging of his tail as he rests his head in Dorothy’s lap, the wolfing down of Professor Marvel’s sausage lunch and his relaying of Dorothy’s capture to the Lion, Tin Man and Scarecrow will stay with me for a long time.
All in all, the original tale still sings from the stage, the homages to the original are clear. It’s a smart, modern but respectful production with a cast that clearly are having a fantastic time entertaining us all. It’s choc full of brave changes, smart new decisions and of course, loads of heart. The final moment of Dorothy walking in silhouette towards the rainbow, her ruby slippers glinting, cements this production in my mind and really catapults The Wizard of Oz into a new generation of fans and reminds them that, ‘there’s no place like home.’
A hefty evening at Wigmore followed after Jan Lisiecki the night prior. It was a more laid back affair, myself being the only critic in as they all appeared to be at the First Night of the Proms. American by heart, the Attacca Quartet added flair and thrills to this evening.
You usally know what to expect with Phillip Glass and here was no different. This String Quartet No. 3, dubbed ‘Mishima’ from 1985 is standard fare. You’ve got to like arpeggios to get Glass, as you hear a considerable amount in each of his pieces. I’m taken with the playing of Attacca, is was almost like a gig as opposed to a concert proper. Sweetness melds with nostalgia in what is the soundtrack to the film from Paul Schrader.
John Adams with his 2nd String Quartet is another big, American sell. Acidic flips in classical forms are transformed with his erratic bouts of energy and a reeling consciousness. Its was fun just watching the quartet, cellist Andrew Yee really gets into things it was if as we were at a rock concert, head banging abound. The four together have a snapping focus, musically very touching. On viola, Nathan Schram is so charming, he introduction to the music is insightful, his overalls and trainers a trendy statement.
We’ve been hearing more from Caroline Shaw at present. The American gentleman sat near me said she is played extensively in Chicago. One can see why, as her music has an easy appeal and is often quite inspiring. Within 3 Essays you get the spirit of the hymn and the fiddle, taking several points of reference as its starting point. She is unafraid to have moments of discord, gently sliding back into tonality, the playing near the bridge of the instruments creates screeching, singing sounds. Shaw will be getting a lot more presence as a welcome addition to programmes either side of the pond. I would like to hear more.
Paul Wiancko is a new name to me, though Yee stated the music us life changing. I’d agree to an extent, more country themes are spread throughout the score. Frantic flustering is heard and seen in his LIFT, stated in the programme as being “a very American piece”. It pretty much is, though any more than the rest of the bill is debateable. Attacca Quartet gave Wigmore the most interesting and liberating concert for some time.
A late night concert shortly followed. An hour of American spirituals was a fine way to end the night, thanks to the efforts of Reginal Mobley & Baptiste Trotignon. Mobley is a countertenor and an impressive one at that, sweet voiced and endlessly vibrant. Heard in Handel and Bach, he is also keen to make part of the larger canon the importance of the spiritual. We feel for him, the weight of these songs under slavery in American history, reain a great resource. Some are recognisable, ‘Nobody knows the trouble I’ve seen’ is one moody example, whilst others exude the most wonderful air. ‘A Great Campmeetin’ has an infectious charm, ‘Save Me Lord’another powerful song that left me moved.
On piano Frenchman Baptiste Trotignon is equally happy in this or jazz, his improvisation also noteworthy for its effortlessness. Other important composers of colour: Florence Price and Harry T Burleight are also here, their contribution to the perseveration of spirituals and the creation of their own songs also standout. The last set featuring ‘Deep River’ ‘I got a robe’ and ‘Bright Sparkles in the Churchyard’ add to the religious fervour. Its amazing how well these songs end, they seem to tuck themselves in, as the medley is wrapping up. It’s always satisfying and this concert shall be well remembered.
The Cardiff Open Air Theatre Festival’s final adult production is in full swing with ‘Guys and Dolls’, bringing Broadway to Wales in this electrifying, toe-tapping good time. The Theatre Festival’s musical option brings something unique yet, as always, high-quality to the proceedings, making for another crowd-pleaser as the festival draws to a close. All of this year’s performances have been nothing short of wonderful, and this show is another high point in a series of successes.
‘Guys and Dolls’ follows two couples, the new love between Sky Masterson (Josh Lewis) and Sister Sarah (Elle Dance), and the long-time love between Nathan Detroit (Kristian Zgorzelski) and Miss Adelaide (Rhian Morwood). The core four are all impressive, with great chemistry, and each of them handle both the drama and the comedy with ease. And to boot, their renditions of the show’s songs are all very impressive. A favourite of mine was Dance and Morwood’s performance of ‘Marry the Man Today’, their unique vocal skillsets come together in an incredibly satisfying way. The people that make up show’s heart and soul are thoroughly convincing and undeniably talented.
The highlight of any musical is the songs, and the cast brings the iconic music of ‘Guys and Dolls’ to life with great performances across the board. The solo performances are natural standouts, but the songs with more of an ensemble really highlight just how well-done the production is, with creative choreography and a fun energy. When there’s singing and dancing, there’s never a dull moment, the atmosphere was very fun to be in.
The staging was full of little changes and quirks between scenes, such as a swivelling sign and a moving tunnel, that were subtle yet seamless, and effective at creating the atmosphere. There was even a level of audience immersion, with the ensemble walking around us in our seats and even interacting with a few lucky guests, which made me feel like I was very much part of the party. By the show’s conclusion, the audience were fully roped into the experience, the energy during ‘Sit Down You’re Rocking the Boat’ was incredible.
‘Guys and Dolls’ feels like the ultimate victory lap for another successful year of the Cardiff Open Air Theatre Festival. It is further proof of the high marker of quality that the festival has, and it fully shows off their ability to consistently create effective drama and great crowd-pleasers. With its spectacular show-stopping, all-singing, all-dancing, Broadway style, this is not one to be missed.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(5 / 5)
(4.5 / 5)
(4 / 5) Attacca Quartet 
