A rare treat from OVO in London with The Threepenny Opera. Most well know for the hit song Mack the Knife, the show’s titular anti-hero, this remained a delight. From the mostly young cast was brought new life to this peculiar show. High res jackets and made up mannequins are the home stay of the production, directed by Adam Nichols and Julia Mintzer.
Kurt Weil excelled as caberat songs, symphonies and film score. This is some of his best work here, the bouncing, acidic metres and remaining tunefulness are total highlights. Story wise, Bertold Brecht was never one to turn down a sort of fable lecture in most of his work. Mack the Knife is one of London’s most infamous criminals, falls in love with Polly and gets his commpuence…or does he?
My plus one was confused over the meaning and the ending’s choice. I always see it as Brecht’s cutting look at society and the systems we engage in as flawed, corrupted and horrible. This was Peaky Blinders for the Weimar period. Much respect to the springy, witty ensemble. This is such a Cockney piece and the accents felt genuine (this London after all) and the leads impressed. Peter Watss as Mack, bringing out all the stops for the scary, yet loveable thug. It was nicely performed and should see him in the role agian.
Polly was a delight from Emily Panes, musically well suited to caberat. The role does not have a lot to do, but when she engages with Mack and warding off his other lady friends things take flight. Mark Carlisle adds mad inventor vibes and Jonathan Peacham, engaged with money making schemes with homeless people. The delivery was telling and his timing well paced. Annette Yeo as as Celia Peccham in an amuzing costume and shrill theatrics is another enjoyable flutter.
The ensemble acted, sang and played the instruments and well done them. Czech conductor Lada Valešová added a serious, if still fun tone to proceedings. Her sometimes engaging with the action was dry, these little moments helped break down the show, being in the round, in English translation and by a group who didn’t focus on making a very showy show.
Pioneering South Korean choreographer Eun-Me Ahn, premiere’s the exquisite production Dragons. Witnessing ‘Dragons’ is a fusion of both traditional and modern dance styles, centred around music and non-stop movement infusing culture, rhythm and poetical essence from across Asia, which connects the young with the elders, where they both come to terms with the concepts, changes to embrace the vitality of an inter-connected world that calls for adaption, simplicity and interpersonal growth to with an inevitable changing & circulating universe, world & dimension.
The feature of holograms throughout Dragons gives this production a special, diverse energy into the captivating space created by the Avantgarde choreographer Eun-Me Ahn’s latest kaleidoscopic production, which exhibited an empowering execution from her extraordinary company of flexibly enchanting dancers, who individually interacted on stage with holograms of five inspiring young performers from Malaysia, Japan, South Korea, Indonesia and Taiwan.
Education, warmth, freedom, water & all the in-between to reflect expression, movement, liberation, originality takes formulation of movement, touch, physicality and sensuality, sprung culture, solidarity and global unification. The vibrancy of colour whether through the clothing, traditional outfits, holograms and or significant lighting cinematic effect; brought the space alive and told a story of beauty, love, passion, progression, soul purpose, magnitude, togetherness, hope, future endeavours, vulnerability & success.
Above-all, Dragons is a fantastic way to absorb the power of Asian past and present culture, whilst bringing about a collective form of magnet impulsivity and grip of focused gratitude and feeling of emotions, service and the ability to feel music, contemporary and hip hop dance, alongside traditional dance movement in a non-unapologetic and self accepting way.
Stacey Alleaume as Violetta in La Traviata, photo by Julian Guidera
(3.5 / 5)
In the past week, the documentary In Plain Sight, an investigation by Channel 4’s Dispatches and the Sunday Times, has alleged that comedian turned wellness guru Russell Brand is responsible for exploitative treatment of women, including rape and sexual assault. Just like when the #MeToo movement emerged, many have questioned the women speaking out. Women are still exploited by powerful men and their sexuality is still policed.
La Traviata couldn’t be more topical. Verdi’s opera was shocking in depicting and taking the side of a ‘fallen woman’, what today might be an escort. Alas, the unimaginative direction, originally by Sir David McVicar, here by Sarah Crisp, makes it look preposterous and bizarre.
Violetta, a courtesan, meets Alfredo at a lavish party. She decides to leave that life and live with Alfredo supporting their life together financially. Unbeknown to Alfredo, his father asks Violetta to leave his son to protect his and his family’s reputation.
Stacey Alleaume as Violetta and Mark S Ross as Giorgio Germont in La Traviata, photo by Julian Guidera
Violetta leaves Alfredo who feels spurned and acts his revenge by throwing money at her in public to repay her. Verdi thinks she has a dignity and should be respected.
It is none other than Alfredo’s father who defends her and condemns his own son for disrespecting her. Yet, only at the very end Alfredo learns that Violetta sacrificed their love and life together for his reputation. He comes back to see her dying.
The WNO’s traditional setting fails to convey Verdi’s intention. The choice of a very dark set design, presumably to symbolise impending doom, has a jarring effect on the opening scene whose frivolity and joviality are dampened. It weakens the unfolding of the tragedy and frustrates the solid performances of the artists.
David Junghoon Kim shines as Alfredo, just as he did as the Duke in Rigoletto. He is at home with Verdi and gives a performance full of pathos. His beautiful tonality and powerful voice deliver longing and sorrow effectively. Stacey Alleaume as Violetta has a splendid coloratura. She’s at ease on high notes and bel canto. In the ‘croce e delizia’ duet with Alfredo in Act I, she seemed often overpowered by David Junghoon Kim when singing at a lower range. She is stronger in the second act with Mark S Ross, playing Alfredo’s father Giorgio Germont, and the final dying scene. Mark S Ross has a beautiful baritone voice. He gives an excellent performance.
The WNO’s chorus is strong as ever. The orchestra, under the baton of Alexander Joel, gives a solid, albeit uninspiring, performance.
David Junghoon Kim and Stacey Alleaume in La Traviata, photo by Julian Guidera.
A return to London, making an effort to go and see something before even going to my host. In this marvellous afternoon concert we heard from JS Bach and other varying delights.
This was really an opportunity to show off Chouchane Siranssian on the violin. I loved the effort of a sensual Leonardo Garcia Alacón on harpsichord and Balás Máté giving patience and nice drone work as supporting cello. The Bach works: the Violin Sonata in G and Adagio from Violin Sonata in C minor had that had real compassion, Siranssian seems to soar in this repertoire. Amazing to think how much the repertoire has changed, yet Bach was such a game change in his own right. Complexity met beauty in what we should expect from Bach, the passion of these players was a highlight.
Though the Bach got the audience in, a delight from Carlo Farina and his Sonata quinta detta ‘La Farina’. Of note is it’s strange momentum, seemingly slow then without warning pushes forward with swift rhythms. I hadn’t heard anything like, certainly not from the era of the composer (1604-1639). More discoveries like this make you realise just how much innovation there was over the centuries.
A short fire trip followed with Johan Jakob Walther’s Passacaglia from Sonata No. 7, Krikor Naregatsi with his Improvisation on Havun Havun and Pietro Antonio Locatelli’s Sonata in D minor. Siranssian shone once again here with one part of high pitched squeals from her violin, her accompanists also getting fine musical moments. Bleeding well into each other this choice of three works was fine, its was all very touching and highly sweeping. The broad steps of musical style and expression never waned.
Ending with Andrea’s Anton Schmelzer and his Violin Sonata ‘Victori derby Christen’ prove more brilliance from this trio, this hour with them a joy. Siranssian I assume read out the name of movements in German as the piece went on, its approachable nature made for easy listening. We’d love to have them back soon.
After a hefty scandal in its original outing, the German take on the classic English book Rebecca as a musical has finally made it to London. Sadly, the curse which is synonymous with the story still leaves it mark…
The elegance and intrigue of Daphne Du Maurier’s tale has not translated well in this staging by Alejandro Bonatto. There is something of a pantomime about the whole thing. I can assume the budget was right for this, even with some practical use of quite a small stage, designer Nicky Shaw should get a shoutout for this. The songs by Michael Kunze and Sylvester Levay have some charm and passion, but remain remarkably old fashioned. Precise extracts from the novel are present, yet it’s the generic vocal line and unappealing melodies which stand out. I spent over 14 hours listening to the audio book and it’s amazing how much was the story just stops and starts on stage. This tension does not always work when you have to take a break with songs.
The cast are vocally fine, with what they are given. I was pleased with the loud and proud ensemble who play the service staff, salty sailor types and Monte Carlo snobs. Our leading lady is never given a first name, the mark of Rebecca as Mr de Winter’s first wife looms over all. As “I”, said second wife is Lauren Jones who works well in the unassuming role. She puts up with a lot, curiously there is no mention of children or plans for any from either wife. Elements of Jane Eyre cannot be denied either. As Maxim de Winter, I wasn’t so convinced with Richard Carson, though dashing and subtly spoken. I didn’t really get the outbursts nor mental anguish from his time with Rebeca and here death. A singing voice that felt quite Les Mis, marginally less depressing than that show.
Kara Lane had fun as Mrs Danvers, perhaps the most fascinating living character in the story. Obsessed with Rebeca whom she always cared for, her singing reach absurd moments belting out the title characters name, some of the best moments in the show. The supporting cast varied from compassion to miscast. Some problematic aspects…the role of Ben who feels quite Sondheim like was played with conviction from an adorable David Breeds, his broken, mysterious, lines signs straight from the book. Sarah Harlington as Beatrice might be the best suited for any of these roles, Piers Bate as Frank Crawley getting little time to show sympathy in the ongoing scandal. Emily Apps as Clarice and Alex James-Ward as Rebecca’s cousin also worked well in the scattered pacing.
Its rare that I’m annoyed with a show. Rebeca deserved better.
Rebecca runs at Charing Cross Theatre till 18th November 2023.
Cyn i ymarferion ddechrau ar gyfer Y Fenyw Mewn Du yn yr Hydref, gofynnon ni cwpl o gwestiynau i’r actor Tom Blumberg am straeon ysbryd, ei ofnau a’i fywyd newydd yn Toronto.
Pam ddylai cynulleidfaoedd ddod i weld Y Fenyw Mewn Du?
Os ydych chi’n hoffi arswyd ac yn mwynhau cael dipyn o fraw (fel fi), mae’r stori yma’n wych, ac yn llawn eiliadau iasol pur. Ond y prif reswm yw bod prinder straeon arswyd ac ysbryd yn y Gymraeg – wedyn mae hyn yn teimlo fel rhywbeth gwahanol, ac yn gyfle eitha’ unigryw….yn enwedig dros gyfnod Calan Gaeaf!
Ai hon yw’r stori ysbryd gyntaf i chi actio/cyfarwyddo/addasu? Beth sy’n ei gwneud yn arbennig/wahanol?
Ie. ‘Dw i wrth fy modd gyda straeon ysbryd ac felly ‘dw i wedi gweld lot ohonyn nhw, ac mae’n hynod o gyffrous i fod ar yr ochr arall, yn perfformio un am unwaith. Be sy’n ei wneud yn arbennig dw i’n meddwl yw bod y stori’n cael ei pherfformio yn Gymraeg, mae rhywbeth barddonol am yr iaith Gymraeg sy’n gwneud y stori hyd yn oed yn fwy effeithiol yn fy marn i – mae’r delweddau yn fyw ac yn effeithiol iawn.
Rydych wedi symud i Ganada yn ddiweddar, beth ysgogodd y mudo yma, a beth wnaeth i chi gytuno i ddychwelyd i Gymru ar gyfer YFMD?
Do ! Ar ôl 2 flynedd o aros yn yr unfan dros y pandemig, o’dd hi’n teimlo fel amser am antur ! ‘Dw i wastad wedi bod eisiau byw dramor, ac mae Canada yn wlad mor brydferth roedd o’n teimlo fel y lle delfrydol – yn enwedig gyda rhai cyfleoedd actio ar gael yno hefyd, yn golygu gallwn i ddod o hyd i waith yno. Dw i wrth fy modd yno hyd yma. Roedd YFMD ar y gweill cyn i mi allu cadarnhau fy fisa, ond mae wastad wedi bod yn freuddwyd i fi chwarae’r rhan ers i mi fynd i weld y ddrama yn Saesneg yn y West End pan o’n i’n ysgol ddrama. Mae’n fraint cael chwarae rhan yn ‘premiere y byd’ o’r stori yn y Gymraeg, felly ‘doedd dim rhaid i fi feddwl ddwywaith am ddychwelyd o Ganada i fod yn rhan o’r cynhyrchiad gyda chwmni sydd wedi ‘nghefnogi i ers blynyddoedd lawer, cwmni sydd yn agos iawn at fy nghalon – a gyda thîm delfrydol o artistiad a chriw cynhyrchu. Dw i wedi siomi braidd y byddai’n colli fy nhymor Calan Gaeaf cyntaf yng Ngogledd America, achos dwi’n gwybod ei fod yn gallu bod yn eitha’ gwyllt yno ac maen nhw’n mynd i gymaint o ymdrech – ond mi fyddai’n perfformio’n fyw mewn stori ysbryd ar lwyfan, wedyn mae’n fargen digon teg dw i’n meddwl.
Beth sy’n gwneud i chi grynu?
Yr eiliadau mwyaf brawychus i fi mewn unrhyw straeon arswyd yw’r awgrymiadau bach yna o arswyd – fel pan gewch chi gip ar rywbeth sy’n gwneud i chi gwestiynu a wnaethoch chi ei weld mewn gwirionedd, neu ai’ch meddwl oedd yn chwarae triciau arnoch chi, yn dychmygu pethau. Yr eiliadau bach hynny o ddirgelwch, cipolwg o ffigwr tu ôl i chi mewn drych, siapiau rhyfedd yn y cysgodion – pan mae’r dychymyg yn rasio yn wyllt … dyna’r eiliadau mwyaf cyffrous dw i’n meddwl.
Pam fod gwneud theatr yn Gymraeg yn bwysig i chi?
Mae theatr Gymraeg yn hollbwysig : mae’n hybu’r defnydd o’n hiaith fendigedig o fewn profiad hwyliog a difyr. Mae’n cynnig cyfle hefyd i ddysgwyr gael ymdrwytho yn y Gymraeg y tu allan i’r ystafell ddosbarth, sydd yn allweddol dw i’n meddwl. Dw i hefyd yn meddwl bod y math yma o straeon ysbryd yn cael eu perfformio mor anaml yn y Gymraeg, mae’n grêt gallu rhoi’r cyfle i Gymry Cymraeg brofi stori ysbryd fyw yn ein hiaith hyfryd ein hunain – a dw i ddim yn siwr iawn pam, ond mae’n teimlo’n fwy real yn y Gymraeg !
Oes gennych chi unrhyw straeon ysbryd eich hun yr hoffech chi eu rhannu?
Ddwlen i allu neud hynny ! Dw i wrth fy modd gyda straeon ysbryd, a chlywed profiadau pobl eraill o’r oruwchnaturiol, ond dydw i byth wedi cael profiad ysbrydion fy hun ! Ond dwi’n un o’r bobl od yna fyddai’n falch iawn o gael y fath profiad – mae’n rhywbeth cyfareddol dw i’n meddwl, yn hytrach nag yn frawychus. Mae’r byd go iawn yn llawer mwy brawychus i mi – mae’n gysur i mi rhywsut meddwl bod yna eneidiau o’r gorffennol yn symud yn ein plith … cyn belled bod nhw ddim yn dod ag unrhyw felltithion erchyll fel mae’r fenyw mewn du.
Below is a syndicated interview with Tracy-Ann Oberman for The Merchant of Venice 1936, which is performing at the New Theatre Cardiff from 31 October – 4 November. More information on the show and how to book tickets here.
“The women in my family were as tough as nails.”
Tracy-Ann Oberman is herself no stranger to tough cookies – she’s a formidable actor on stage and screen. But here she is speaking about her great-grandmother and aunts, women with nicknames like Machine-Gun Molly and Sarah Portugal. They came to London from antisemitic eastern Europe at the turn of the last century, and despite all odds managed to build a life and make a living.
Oberman’s family history helped unlock Shakespeare’s enduringly controversial play, The Merchant of Venice. Her relatives survived the Battle of Cable Street in 1936 – a little-known event in London’s East End, when the Jewish community was targeted by the British Union of Fascists, led by Oswald Mosely. Mosley’s blackshirts marched through the area, only to be confounded when the non-Jewish community stood by their Jewish neighbours.
In The Merchant of Venice 1936, Shakespeare’s harsh plot snaps brilliantly into place against this backdrop. Shylock, its anti-hero, is a Jewish moneylender who becomes entangled in the affairs of wealthy non-Jews and suffers terribly for it. In this new version, Oswald Mosely inspires Antonio, the merchant who takes a loan from Shylock and offers a seemingly fanciful penalty for defaulting: a pound of flesh. The heiress Portia becomes “a beautiful glacial Mitford type, awful” – her famous courtroom speech about “the quality of mercy” emerges as an act of hypocrisy rather than humanity. And Shylock changes sex, played by Oberman as a single mother, fiercely committed to her independence and her daughter. “I have one daughter,” she says – “it’s an intense relationship!”
Oberman is an impressively versatile actor – diamond sharp on stage at the RSC and National Theatre, in comedies like Friday Night Dinner and Toast of London, and as Dirty Den’s nemesis Chrissie Watts in EastEnders. Yet playing Shylock in The Merchant of Venice was never on her radar – growing up, she says, “the play always fascinated and repulsed me.”
Reclaiming the play from a Jewish perspective has proved a transformative experience. It is directed by Brigid Larmour, who recently stepped down as artistic director of Watford Palace Theatre: the pair of them have become, says Oberman, “walking encyclopaedias of this world.” They assembled a strong company of actors – “We call ourselves the Cable Street Collective!” says Oberman. Ray Coulthard’s sneering Antonio and Hannah Morrish’s icy Portia are chilly foils to this ardent Shylock. The result is painfully funny, genuinely upsetting – and unexpectedly moving as the events of the play meld with the heightened drama of the Battle of Cable Street.
Having sold out in Watford and Manchester, the production now embarks on an extended tour. “We’ve had lots of people crying and we get standing ovations,” says Oberman, reflecting on why the show has struck such a chord with spectators. “Whilst they might not have liked my Shylock, they certainly understood why she wants that pound of flesh. She stands in the courtroom with her handbag, with everything stacked against her. A lot of people know that feeling – believing the law is on their side, but discovering it’s only on the side of people that have power.”
This production sat in Oberman’s head for years, as she researched and planned and waited for lockdowns to pass. But now that it has met an audience, what has surprised her? “The thing that surprised me most was the court case,” she considers. “Just how powerful it was to see this woman backed into a corner by all these men, with the palpable hatred and misogyny. It was electric – you could cut the atmosphere in the auditorium with a knife. That was a revelation.”
Playing Shylock as a woman, she insists, isn’t about softening the character – “I didn’t want to make her a victim or change her role in the story” – but, she adds, “maybe I underestimated the impact of a female Shylock. There are a couple of very shocking moments that really upset audiences. In an early scene Antonio comes to borrow money, and Shylock describes him spitting on her and kicking her like a dog – when that behaviour is directed at a woman, it heightens the antisemitism. I think people also see a woman with her rage and anger. She loses her daughter, her money – she loses everything. And when you tell somebody that they’re a monster for long enough, they become that monster.”
The production vividly summons a febrile moment in British history. “My dream is that the battle of Cable Street will be taught as part of the British civil rights movement,” Oberman says. “Mosley had been sending his blackshirts down into Cable Street smashing doors, breaking windows, attacking synagogues and people on the streets, putting up the most horrific leaflets straight out of Hitler’s playbook. But my great grandmother always reminded me that their neighbours – their Irish neighbours, the Afro-Caribbean community, the dockers, the working classes – all stood together. That was a beautiful moment.”
It is clearly immersed in history – but does this also feel like a show about the present? Absolutely, Oberman says. “At a time when we are looking at Britain’s involvement in colonialism and the slave trade, I think we also have to look at Britain’s flirtation with fascism. Oswald Mosley and King Edward VIII, both great friends of Hitler, came close to power – we dodged a bullet. The great message of the play is about the pulling together of all communities – we’re better together, we’re stronger together, especially at times of huge financial and political insecurity. The past shows us what happens when we look inwards: we become very nationalistic and try to pit minorities against each other. We have to be vigilant.”
Oberman doesn’t hide how much this project is personal to her – but it seems she’s not alone. “What has been very moving is how many people want to stay and talk at the end,” she says. That kind of conversations does the play provoke? “A lot of people talk about their own family’s immigrant experience. Young political people want to talk about the Battle of Cable Street, and people who’d never seen a Shakespeare about why they’d found it so accessible. One man came in with about 20 fascist newspapers from the 1930s that he’d found in his father’s loft, which we’ve used as part of our graphics.
There were big conversations: is the play antisemitic? Was Shakespeare? Lots of really interesting conversations.” Part of the impetus behind The Merchant of Venice 1936 was teachers telling Oberman they felt anxious about discussing this contentious play in their classrooms. So the production is accompanied by a prolific strand of education work, alongside the activist group Stand Up to Racism. The team have been into schools and created a pack to support teachers. “We’ve also created an online world which people can look at before or after seeing the play. It’s an incredible resource talking about the play, the 1930s, the history of antisemitism and racism, Oswald Mosley, everything you could want.”
It’s still rare to see a woman standing dead centre in a Shakespeare production – though Oberman tells me, “I can honestly say that when I went into this, it was never with an ego about playing Shylock, it was about wanting to tell the story. I just put my soul into it.” And has it been the experience she hoped? “Every single bit of it has been a complete joy. It’s been more than a piece of theatre – for me, it’s been a mission. And it lived up to all my expectations.”
The days are getting shorter and the nights are drawing in and that means one thing: the New Theatre’s annual Christmas pantomime is coming, and this year’s is gonna be alriiiiiiiii. Jac and the Beanstalk is the New’s latest festive shindig to sprinkle a little Welsh magic over the Very British artform that is the panto, and Get the Chance’s Barbara Hughes-Moore sat down with the actor bringing the titular adventurer to life: Adam Bailey, fresh from London’s West End who’s starred in the likes of Jersey Boys and The Book of Mormon.
This interview has been edited for clarity.
https://www.youtube.com/watch?v=JH7D76cB8LQ
Thank you for speaking with me today, Adam. Tell us a little bit about Jac and the Beanstalk
What a brilliant panto – I can’t wait to get started. I grew up in Cardiff and it’s going to be a really special thing to be able to come back to the New Theatre.
Could you share some of your memories of the New Theatre?
I’ve been doing shows here since I was a teenager! I did 4 or 5 amateur productions here, so it’s lovely to come back as a professional: it’s a real full circle moment!
And to be playing the titular character, too! Tell me about Jac: what makes him tick?
Well, I’m not sure because we don’t have a script yet! We start rehearsals end of November and that’s when we’ll start to explore all of that. It’s going to be such a fun light show. Panto is a total romp, so I can’t wait!
How did you get involved?
Just like any actor you audition, you sing and you act, and then you get the call.
There are some quite big names on the poster behind you, like Lesley Joseph and Mike Doyle. Have you met either of them yet?
I don’t think I have… although I’m terrible with names and faces!
Well, Mike is a master of disguise, so you could have met him and not known it!
Absolutely!
What are your first memories of panto?
Although it wasn’t a family tradition, I’ve been to panto at the New Theatre as a child. My first proper memories were the first times I did panto when I was in training, during my econd and third year. it’s so much fun, and so important to the fibre of theatre in this country. It’s so many people’s first foray into theatre, so it’s a really wonderful thing.
You’ve performed both in pantomimes like Aladdin, and musical theatre like Jersey Boys in the West End. What are the differences between the two – or is it the same process?
It’s all theatre at the end of the day. It’s essentially your office job! But all the shows you do are slightly different and it’s the people who make it. There is something special about panto and how stylised it is, because there’s nothing else like it. It’s such a British staple and such a unique tradition.
What’s the secret to a good pantomime?
Good people. As long as you’ve got good people, then it’s gonna be brilliant and I’m excited to meet the cast.
Will it get Cardiff audiences on their feet?
Yes! Panto is a party at the end of the day and we want to get everyone up on their feet and feel good. We want to send everyone on their way singing.
How does the show incorporate Welsh references into Jac and the Beanstalk?
The clue is right here in the title: we’ve taken the ‘k’ out of ‘Jack’ for a start!
Will there be room to improv?
With certain characters, yes. Mike Doyle for example has done this over and over and there will be improv… but within reason! This isn’t a seven-hour-long panto: we’ve got to do two a day!
What about the costumes?
They’re nice and bright and colourful! What other shows let you get away with wearing things like this?
Do we have any special effects to look forward to?
I hear there’s a special effect with the giant, but it isn’t common knowledge so I can’t give anything away. You’ll just have to wait and see…
Anything else you can tease about the show?
The pantos here are always brilliant. So come along, enjoy yourself, sing along, have a dance: it’s gonna be great.
Mae’r tîm a oedd yn gyfrifol am Shirley Valentine y llynedd yn troi o chwerthin i iasau yn yr hydref gyda premiere y byd o Y Fenyw Mewn Du, cyfieithiad Cymraeg newydd o’r ddrama ysgubol o’r West End, The Woman In Black.
Mi fydd siaradwyr a dysgwyr Cymraeg wrth eu bodd i glywed y bydd cynhyrchiad arall at ddant pawb gan y Consortiwm Cymraeg yn cael ei lwyfannu ar draws de Cymru yn yr hydref eleni. Wedi cyfareddu cynulleidfaoedd yn 2022 gyda dogn reit dda o chwerthin, eleni mae’r tîm yn gobeithio clywed mwy o sgrechian na chwerthin gan gynulleidfaoedd wrth gyflwyno llwyfaniad newydd sbon danlli o gynhyrchiad sydd wedi bod yn arswydo cynulleidfaoedd yn Llundain ers 30 o flynyddoedd.
Dywed Geinor Styles :
“Rwy’ wrth fy modd yn cael fy nychryn. Ers i mi fod yn ifanc iawn, rydw i wastad wedi caru straeon ysbrydion a bwganod. Pan ddarllenais i The Woman in Black gan Susan Hill fe ddychrynodd fi gymaint roedd yn rhaid i mi osod y llyfr gyda’r clawr yn wynebu am i lawr, fel ‘mod i byth yn ei gweld hi – Y Fenyw. Weles i addasiad llwyfan Stephen Mallatrat yn y nawdegau cynnar. Roedd yr addasiad o’r stori nid yn unig yn glyfar iawn, ond mi lwyddodd i f’arswydo, ynghyd â phawb arall o’m cwmpas yn y theatr.
Mae’r storio syml yn y sioe yn dyrchafu nerth theatr a’r gair llafar. Mae’r atgof wedi aros gyda fi, a dyma un o fy hoff ddramâu. Blynyddoedd wedyn, yn dilyn sesiwn adborth gyda chynulleidfaoedd cynhyrchiad y Consortiwm o Shirley Valentine, awgrymodd dysgwyr Cymraeg i ni fod gweld stori neu ddrama gyfarwydd wedi codi eu hyder i fynychu theatr yn y Gymraeg. Hefyd, dywedodd y canolfannau mai straeon arswyd sydd yn gwerthu orau.”
Mae Y Fenyw Mewn Du yn adrodd hanes Arthur Kipps, cyfreithiwr sydd wedi cyrraedd i roi trefn gyfreithiol ar faterion Mrs Alice Drablow. Tra’n gweithio ar ben ei hun ar ei hystâd anghysbell, mae’n tystio aflonyddiad hunllefus ac yn syrthio ar drugaredd melltith y fenyw mewn du. Wrth geisio rhyddhau ei hun o’r dioddefaint yma a bwrw allan yr ysbryd am unwaith ac am byth, mae’n cyflogi actor i’w helpu i adrodd ei sori, ac wele, mae’r llwyfan wedi ei gosod ar gyfer un o straeon arswyd mwyaf bythwyrdd y theatr.
Wedi ei haddasu gan Stephen Malatratt o nofel gothig 1983 Dame Susan Hill, The Woman In Black yw un o’r dramâu mwyaf hirhoedlog ar y West End, ac mae wedi uno cynulleidfaoedd mewn ofn ers 30 o flynyddoedd. A nawr, dyma’r cyfle i gynulleidfaoedd Cymreig gwato y tu ôl i’w rhaglenni. Mae Y Fenyw Mewn Du wedi ei chyfieithu yn arbennig ar gyfer Y Consortiwm Cymraeg gan yr ysgrifennwr ac actor Gwawr Loader. Eglurodd Gwawr bwysigrwydd y cynhyrchiad iddi hi:
“Roeddwn wrth fy modd pan ofynnodd Geinor i mi ymuno â thîm Y Fenyw Mewn Du. Mae cael y cyfle i gyflwyno addasiad newydd o glasur y West End i siaradwyr a dysgwyr Cymraeg y cymoedd yn eu hiaith ei hunain, gyda naws Gymreig, yn gymaint o bleser. Gyda chostau yn codi drwyddi draw, mae’n hanfodol bod cynulleidfaoedd yn gallu mynychu theatr o’r safon uchaf yn eu trefi a’u pentrefi, ac mae Y Consortiwm Cymraeg yn rhagori ar gyflwyno gwaith i’r gymuned.”
Mae Y Consortiwm Cymraeg yn falch iawn i gyhoeddi mai Jonathan Nefydd (Pobol Y Cwm, The Way) a Tom Blumberg (Theatr na nÓg, Arad Goch) fydd yn chwarae yr Actor a Kipps.
Wedi ei gyfarwyddo gan Geinor Styles, cyfarwyddwr artistig Theatr na nÓg, mi fydd Y Fenyw Mewn Du yn cynnwys cerddoriaeth gan y cyfansoddwr Barnaby Southgate. Cynllunnir y cynhyrchiad gan Kitty Callister, y sain gan Ian Barnard, a goleuo a’r cynllun taflunio gan Andy Pike. Y cyfarwyddwr cynorthwyol fydd Llinos Daniel ac mi fydd y storïwr Owen Staton yn cynnal gweithdai adrodd straeon arswyd ym mhob lleoliad i gyd fynd â’r daith.
Sefydlwyd Y Consortiwm Cymraeg gan y cwmni theatr arobryn Theatr na nÓg, Ymddiriedolaeth Ddiwylliannol Awen, Theatr Soar a Neuadd Les Ystradgynlais, i gyflwyno theatr hygyrch o’r safon uchaf yn yr iaith Gymraeg. Mae’r Consortiwm hefyd yn bwriadu cyflwyno rhaglen o gyfranogiadau fydd yn galluogi cymunedau i wella eu sgiliau iaith a hefyd i ymwneud â chelfyddydau a diwylliant ar eu stepen drws. Daeth aelodau’r consortiwm at ei gilydd er mwyn ailgynnau egni a gwerth y canolfannau perfformio i gymunedau ar draws cymoedd De Cymru. Roedd cynlluniau’r Consortiwm eisoes ar y gweill cyn dyfodiad y pandemig Covid, ond wrth i’r canolfannau diwylliannol gau eu drysau, sylweddolodd aelodau’r Consortiwm bod yr angen am y fath ganolfannau hyd yn oed yn fwy difrifol – i sicrhau dyfodol yr iaith Gymraeg yn y cymoedd ac i i gynnal eu cymunedau bywiog tu hwnt i Bandemig Covid. Llwyddodd y cynhyrchiad cyntaf, Shirley Valentine gan Willy Russell, cyfieithwyd gan Manon Eames a pherfformiwyd gan Shelley Rees-Owen, BBC Radio Cymru, i wirioni yn ogystal â chynulleidfaoedd y gwanwyn diwethaf.
Mi fydd Y Fenyw Mewn Du yn agor ym Mhafiliwn Porthcawl nos Iau Hydref 26ain ac yn parhau yno tan nos Sadwrn 28ain cyn teithio i Theatr Soar, Merthyr Tydfil (2-4ydd Tachwedd, Theatr Borough Y Fenni (9-11eg Tachwedd) cyn dod i ben yn y Welfare, Ystradgynlais (16-18fed Tachwedd). Mi fydd tocynnau ar werth o ddydd Gwener Mai 26ain a cheir manylion llawn ar wefannau’r canolfannau, neu ar theatr-nanog.co.uk.
The team behind last year’s Shirley Valentine switches from laughs to chills this autumn with the world premiere of Y Fenyw Mewn Du, a new Welsh language translation of West End hit The Woman In Black.
Welsh speakers and learners will be pleased to hear there’s another crowd-pleaser from Y Consortiwm Cymraeg on stages across South Wales this autumn. Having delighted post-pandemic theatregoers in 2022 with a much-needed dose of laughter, this year the team is hoping for more screams than smiles from audiences as it presents a fresh new staging of a production that has been terrifying audiences in London for a full 30 years.
Director Geinor Styles explains:
“I love being scared. Since I was very young, I have always loved ghost stories. When I read Susan Hill’s The Woman in Black it scared me so much I had to have the book cover facing downwards so that I never saw her – The Woman.
I saw the Stephen Mallatrat adaptation for the stage in the early nineties. It was not only a very clever adaptation of the story but also terrified me and those who sat with me watching it in the theatre.
The simplicity of the storytelling in the show elevates the power of theatre and the spoken word. That memory has stayed with me and it remains one of my favourite plays. Years later, after a feedback session with audiences following the Consortiwm production of Shirley Valentine, Welsh learners suggested that a known story or play helped with their confidence in attending Welsh language theatre. Venues also said that their biggest sellers were thrillers.”
The Woman in Black tells the story of Arthur Kipps, a solicitor sent to settle the affairs of Mrs Alice Drablow. While working alone on her secluded estate he finds himself the subject of a terrifying haunting and at the mercy of the curse of the woman in black. In an attempt to rid himself of this misery and exorcise the ghost once and for all, he engages an actor to help him tell his tale, and thus the stage is set for one of theatre’s most enduring thrillers.
Adapted by Stephen Malatratt from the 1983 gothic novel by Dame Susan Hill, The Woman In Black is one of the longest-running West End plays ever, having united audiences in fear for 30 years. And now it’s the turn of Welsh audiences to hide behind their programmes. Y Fenyw Mewn Du has been especially translated for Y Consortiwm Cymraeg by writer and actor Gwawr Loader. She told us why she feels this production is important:
“I was thrilled when Geinor asked me to be a part of the team of Y Fenyw Mewn Du. Having the opportunity to present a new adaptation of a West End classic to the Welsh-speakers and learners of the valleys, in their own language and with a Welsh spin is such a pleasure. With costs rising across the board it’s vital that audiences have access to theatre of the highest standard in their towns and villages and Y Consortiwm Cymraeg excels at taking work to communities.”
Y Consortiwm Cymraeg are delighted to announce that Jonathan Nefydd (Pobol Y Cwm, The Way) and Tom Blumberg (Theatr na nÓg, Arad Goch) will play the Actor and Kipps.
Directed by Geinor Styles, artistic director of Theatr na nÓg, Y Fenyw Mewn Du will feature music by composer Barnaby Southgate. The production is designed by Kitty Callister with sound design by Ian Barnard, and lighting and projection design from Andy Pike. Llinos Daniel will assistant direct and storyteller Owen Staton will be running ghost story-telling workshops in each location to accompany the tour.
Y Consortiwm Cymraeg was established by the award-winning Theatr na nÓg, Awen Cultural Trust, Theatr Soar and The Welfare Ystradgynlais to present high-quality accessible Welsh language theatre. Y Consortiwm Cymraeg also aims to produce a programme of participation for communities to improve their language skills and also engage in arts and culture on their doorstep. The four organisations joined forces to rekindle the vitality and value of live theatre venues to communities across the South Wales valleys. Y Consortiwm’s wheels were already in motion pre the COVID pandemic, but as cultural centres locked down, they realised that the need for these creative hubs was even greater – to help safeguard the future of the Welsh language in the valleys, and to support thriving communities beyond the Covid Pandemic. Their first production, Willy Russell’s Shirley Valentine, translated by Manon Eames and performed by BBC Radio Cymru’s Shelley Rees-Owen delighted critics and audiences alike last spring.
Richard Hughes, Chief Executive of Awen Cultural Trust said:
“Awen is thrilled to host the 2023 Consortiwm Cymraeg production of Y Fenyw Mewn Du this autumn and to bring this chilling tale to Welsh-speaking audiences in Porthcawl and beyond. Last year’s Consortiwm production of Shirley Valentine was extremely well received and I have no doubt people will be eager to see this haunting translation of the West End classic at their local theatre”
Y Fenyw Mewn Du premieres at Porthcawl Pavillion on Thursday 26th October, where it runs until Saturday 28th before touring to Theatr Soar, Merthyr Tydfil (2-4th November), The Borough Theatre Abergavenny (9-11th November), ending in Ystradgynlais at The Welfare (16-18th November). Tickets will be on sale from Friday 26th May and full details can be found on venue websites or at theatr-nanog.co.uk.
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
(4 / 5)
(3.5 / 5)
(2 / 5)
