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Review: Jesus Christ Superstar by Richard Evans

Venue Cymru, Llandudno July 1st – 6th 2024 and touring

 out of 5 stars (4 / 5)

David Ian for Crossroads and Work Light Productions with Nederlander Producing Co. UK with Michael Watt presenting the Regents Park Open Air Theatre Production

Lyrics by Tim Rice and Music by Andrew Lloyd Webber

What’s the fuss? Tell me what is happening.  

Telling the story of the last week of the life of Jesus through the eyes of Judas was an original, imaginative idea when this musical was first produced in the early 1970’s.  Would this staging of Regents Park Open Air Theatre’s revival recapture that early promise?  Owing to the nature of this story, this would be a near certainty.  To recreate the crucifixion of Jesus on stage, if done well, can not fail to be dramatic and this production adds plenty of imagination to this already thought provoking musical. 

The cast attacked this story with elan, Luke Street who played Judas in this performance was suitably moody and filled with angst.  The moment when he took the payment for his betrayal was done very well.  Ian McIntosh as Jesus grew into his role and provided some stand out moments especially as he was praying in the Garden of Gethsemane shortly before his arrest.  Strangely though, Jesus is portrayed as a vulnerable man who is struggling to come to terms with his fate throughout the play.  However, aside from his episode in Gethsemane, Jesus was in control and walked knowingly towards his fate, scathing to those who attempted to deflect him.  

The choreography was well planned, purposeful and added to the drama.  The set put the cross at the centre of the production, although it was odd that the chief priests walked on an instrument of torture that in Biblical times was a symbol of being cursed.  They would have been ritually pure therefore would never knowingly touch such an instrument of death.

The musical is stuck in a time warp to some extent, the music and lyrics resonant of the early 1970’s and since then some of the stories concerning Jesus are less well known.  It would help to have a good working knowledge of these biblical events.  However, it was great to hear this score once again as some of the songs have become favourites for many.  Hannah Richardsons rendition of ‘I don’t know how to love him’ and ‘Everything’s alright’ were beautiful.   

It is easy to see the play is not without its problems including the logical flaw in its premise.  Telling the story through Judas’ eyes is an intriguing idea, but of course, he was not around to see the crucifixion having already killed himself.  He is the side story.  The power in this story is not the actions of Judas, but what happened to Jesus.  Even then, crucifixion in itself is not significant.  It  is just another, particularly grisly form of execution.  One Roman commander crucified 500 people in one day.  He would have killed more but ran out of wood.  It is the death of Jesus that is significant and it is what happened to, and about Jesus after his death that makes this any story at all.  To give Judas a sort of equal billing as Jesus after their death, sitting down together in the afterlife as the last scene depicted seems very strange.  

However, we should not let factual relevance get in the way of a good story and this remains a striking piece of theatre that brings more awareness of the death of Jesus to the general public.  While it may not be doctrinally sound to those who profess faith, it avoids being offensive as some other plays or films have been.  The first time I saw the play if became a memorable experience.  This too will stay in the memory for a while.

Review, Madagascar the Musical –Wales Millennium Centre by Bethan England

 out of 5 stars (4 / 5)

Adapting a film for the stage is never an easy feat; audience members come in with all sorts of preconceptions and expectations, and this is particularly true of an animated classic such as Madagascar. This obviously succeeded with another of Dreamworks’ properties, Shrek…so they have a strong track record!

The audience was packed to the rafters with families, school groups and animal ears and tails galore, all eagerly anticipating the tale of Alex the Lion, Melman the Giraffe, Marty the Zebra and Gloria the Hippo. So, does Madagascar stack up to the film that so many people know and love?

The set is colourful, bright, with clever use of the crates from later in the tale as a frame to the action. The set is simple but ably moved around the stage by the Central Park Zookeepers who introduce us to our motley crew of animals; the stars of the zoo. Alex, Melman and Gloria are happy with their lot at the zoo, especially Alex who is the ‘King of New York,’ but Marty is dreaming of going to the wild and the hilarious penguins are dreaming of Antarctica.

The best part of the show is easily the costumes and the puppets. Aside from the main four creatures, the talented cast multi role, leaping with ease from two legs to four. The puppets, especially the penguins, are amazing. Their puppeteers bound across the stage with so much energy and we easily forget that we are watching puppets and can only see penguins and lemurs cavorting across the stage.

The leads are excellent. It’s a tall order to take roles that have been made famous by Chris Rock, Ben Stiller and David Schwimmer, to name but a few. But the physicality and voices are silly, energetic and loads of fun. The dancing and singing are brilliant and the songs are catchy and easy to clap along to. There’s actually a lot of heart and adult humour that did get slightly lost in the rustling of sweet packets but the script is actually really clever, capturing the essence of the original film.
Act Two picks up the action and runs with it, as we reach the shores of Madagascar and meet the lemurs and the charismatic, slightly insane, King Julien.

The highlight of the show is ‘I Like to Move It’ which has the audience delighted. The whole cast join in with a joyous explosion of music and colour and the audience clap along with glee. It is lovely to see children seeing theatre, likely for the first time, and experiencing the thrill watching live performance can bring.

The show is very cheesy and silly, but I left my seat with a smile on my face after the audience was on its feet, dancing along to the encore. It’s a funny, happy show, which is perfect for kids and big kids alike.

This is a great way to introduce little audience members to the stage or if you loved the film in 2005 (and are still young at heart!). Make sure you escape to Madagascar before it gets crated up and sails away from the Millennium Centre!

Review, Cluedo 2, New Theatre, Cardiff by Jane Bisett

 out of 5 stars (5 / 5)

Imagine a stormy night in a manor house on Tudor Close in 1968 and there you have it, the start of the murder mystery – Cluedo.

It all began in 1943, when Anthony Pratt challenged his wife, Elva, to create a board game. by way of alleviating the boredom between wartime air raids. Cluedo was born and subsequently turned into the internationally acclaimed murder mystery game we are still playing 75 years later in over 70 countries worldwide.

As a lover of female crime writers, Agatha Christie and Dorothy L Sayers I enjoyed the challenge that Cluedo gave me. Although the two things remained a puzzle to me, what was the motive for murder? and why was Coronal Mustard always the killer? Maybe we were just bad at shuffling the cards.

Writers Laurence Marks and Maurice Gran are also fans of this great game and jointly they embarked on Cluedo 2. Clearly their love of playing the game throughout their childhoods was an inspiration. The characters felt familiar and updated and had a realness about them as they emerged from the game as fully formed personalities rather the more anonymous people on the cards.

Even if, by some remote chance, you have never played or aware of the game Cluedo you will enjoy the unfolding of this who done it.

This Murder/Mystery/Comedy is utter genius, expertly directed by Mark Bell you get a real sense of the scale of the manor and the dashing from room to room.

The set, designed by David Farley, is a triumph. It first appears to be simple and minimalistic but as the play unfolds you get a sense of size and scale of the manor with the ingenious props and moving doors. Farley also designed the first stage production of Cluedo. To come up with another original set that has the ability to allow you to move with the characters from room to room was brilliant I especially enjoyed the billiard room, it was clever and funny.

This was a play in which every cast member was equally important to the plot. The first half was a bit of a slow burn which for people not familiar with the game was invaluable. However, the second half was joyful. Quick, witty and full of fun with British ‘in’ jokes, it did not disappoint.

As Cluedo is an internationally acclaimed game so are the characters. In this production there are personalities from the British isles and across the pond. This led to the discovery that English is indeed the language that separates us rather than brings us together and this was played with great humour and at times almost had a slap stick feel.

The production team of Jason Taylor (lighting designer) Jon Fiber (sound designer) and Anna Healey (movement director) brought so much to the stage. The lighting during the scene changes holds you and then suddenly you are in a different room.

Thank you to an amazing cast of actors for bringing these much loved fictional characters from our imaginations to life. They did not disappoint and gave us an evening of fun and laughter and for the first time I discovered the motive(s).

Even if you are not Cluedo aware, this play will be a great introduction and a fabulous evening out.

Review, Christian Mason’s Flute Concerto – Thaleia, BBC NOW, Hoddinott Hall, Cardiff by James Ellis

 out of 5 stars (4 / 5)

The BBC National Orchestra season has now officially ended in Cardiff. Whilst a showy wrap up was usually at St David’s Hall, we didn’t get it there this year due, to an ongoing cladding discrepancy. Most if not all concerts have been at Hoddinott Hall in the WMC this season and the year usually finishes with an extra concert there, though it would have ended there anyway. Are you following me?

The themes of Greek myth and a focus on the flute made up the evening. A Debussy heavy first half had the typical Prélude à l’après-midi d’un faune. Opening with the famous theme for flute, the seven odd minutes are evocative and sweetly scented. This brief ballet caused a stir at its premiere, Nijinski the dancer always up to provoke. Our national orchestra seduces us in this opening gambit, they make it looks like child’s play. Following on was the French composer’s Nocturnes, a powerhouse display of orchestration through merriment, nature and seascapes. The final movement of Sirens sees the ladies of the BBC National Orchestra of Wales give into some lovely wooing. The sailors who would wreck their ships, are lured by said sirens and there song is an exquisite offering. It is…a bit mawkish, though I cannot deny my palette for these sirens.

With the composer present on the night, Christian Mason’s Flute Concerto, dubbed ‘Thaleia’ proved to be the real highlight. With same orchestration as the previous Debussy Prélude, the story is of Thaleia, the Naiad-nymph from Mount Etna, with her exploits with the stroppy, amorous Zeus. With Gergely Madaras conducting and his wife, Noémi Győri as soloist this was a personal and powerful conjuring. Playing both flute and piccolo, Győri is a sensation in what must be a deeply challenging role written for her. Trills, flutter tongue techniques and whispering harmonics were all part of the demands. Musically strange, crammed with earthy allure and with many dramatic bouts, I was thoroughly taken with this geeky, Greek mythological inspired oddity.

Madaras, who introduced all the music on the night, for the last venture bigged up Belgiam native César Franck. The orchestra has recorded some select scores in the past, though he doesn’t always get a lot of loving. That changed with our finale: Part 3 of his oratorio Psyché. A small, patient selection of the Gents of BBC National Chorus of Wales joined the mass of ladies for a gutsy showing. This was a taster of the full, proud work and it left wanting more. Madaras, who stirred all night, was most alive here. Some sumptuous bars were compelling, I just would like to hear the full hour long work.

Review aside – Next season, we kindly request we have physical programmes back and some of the lumbering, black microphone stands be moved away from the front of the orchestra.

Here’s to more music making in the Hoddinott!

Listen out for this concert in the near future on BBC Radio 3, then BBC Sounds for 30 days.

Review The Tempest, Cardiff Open Air Theatre Festival by Georgia Bevan.

 out of 5 stars (4 / 5)

It’s that time of year again, the Cardiff Open Air Theatre Festival has returned. To start, Everyman Theatre presents ‘The Tempest’, the timeless Shakespeare play with a modernised twist.

The play follows Prospero (Lewis Cook, who delivers one of the show’s standout performances), and his well-timed plan to get revenge on all of those who wronged him, who are now- by chance or by magic- stranded on this deserted island with him. Additionally, there are many intertwining plots and many characters. The audience’s favourite was the trio of Caliban (Luigi Challis), Trinculo (Elinor O’Leary), and Stephano (Daniel Ivor Jones). The laughs were consistent with these three’s antics, effortlessly translating Shakespeare’s dialogue into the universal language of comedy.

Other standouts are the young lovers, Miranda (Seren Vickers), and Ferdinand (Sean Rhys-James). Both actors are committed to selling their fledgling romance, and they too offer creative moments of comedy. Performances like these make ‘The Tempest’ an authentic and dedicated rendition of the Shakespeare classic. This- combined with interesting staging ideas and other, additional quirks added into the production, speaks to the ingenuity of director Rich Tunley.

The production design of the play is also rather impressive. The beach-like set- which held out well in the evening drizzle- has many cleverly-used quirks. A standout moment was when Ariel (Amanda Ataou), appears as a Harpy, brandishing wings that look like tattered paper, as the actors behind work to flap them menacingly. It makes for a great effect as the character as she terrifies the onlooking characters. The commitment to this stripped-back ‘beach’ aesthetic, as characters carry around dead logs, and wave worn, tattered flags, blends well with the magical element, which is portrayed through great physical comedy by the whole cast.

This modernisation plays to the production’s benefit, pushing the source material in unique directions. Aside from the obvious – a plane crashes onto the island, like something akin to the series ‘Lost’. But this modernisation also allows for some more modern humour, and for references to more recent songs. The audience was singing along and really enjoying themselves when the actors suddenly burst into a rendition of ‘Can’t Take My Eyes Off You’. On paper, that sounds like it shouldn’t work, but it actually does.

This rendition of ‘The Tempest’ is impressively put together, and crowd-pleasing fun, one that is guaranteed to leave the audience satisfied. The festival can always be counted on to deliver when it comes to Shakespeare, and ‘The Tempest’ is a strong start on what looks to be a promising summer.

‘The Tempest’ is at the Cardiff Open Air Theatre Festival, June 22nd – June 28th.

Review: Bacchae: Prelude to a Purge, Marlene Monteiro Freitas, LIFT Festival, Sadlers Wells, By Hannah Goslin

 out of 5 stars (4 / 5)

Clowning. Bouffon. Alienation effect. Utter chaos and hilarity. Marlene Monteiro Freitas brings us 2+ hours of what would seem to be utter craziness on stage. But really, this is a very clever and interesting performance.

It isn’t everyone’s cup of tea. This is very clear when some leave at different points throughout and the lack of interval seems, at the beginning, overwhelming. But it is certainly one of those productions where you need to fully give over to the madness, and it is a lot of fun, evoking and interesting.

Taking inspiration from Euripides, The Bacchae, we see the performers fight between beauty and the grotesque; peace and noise; the search for the calm amongst the chaos. This is seen in the many bodies, all undertaking something different; sometimes repetitive, sometimes unusual, but rarely the same. These are injected quickly and without much preamble to new “scenes”, where focus changes between performers, but the others always still being in view or supporting.

There is a sense of “dance” and certainly performance art, with times of extreme repetition which, at first seems simple but really, the contortion of body and the movement requires a lot of strength and skill. It seems not a bead of sweat is broken and it is effortless, confirming the skills of the performers. Crude and often lewd suggestions, revelations and gestures take place, alongside a provocative and uncensored but also beautiful video of a woman giving birth, which is clever in not only bringing us in but also in pushing us away. There is an element of Brecht and the alienation effect in the narrative and it works to some extent for the traditional theatre goer. The ups and downs of the production, the ebbs and flows all work together to create something dynamic, grotesque and yet wildly entertaining and thought provoking.

Bacchae: Prelude to a Purge is a roller coaster from start to end; at times drawing you in and other times trying to force you away. It is comical and dark, provoking and sometimes just a little lovingly stupid.

DUMPY BISCUIT – A Review by Kevin Johnson,Plaza Theatre.

⭐️⭐️⭐️⭐️⭐️

Skylar has returned home to Port Talbot, disillusioned with life in London. Staying with her friend Meg, and meeting up with their other mates Jess & Courtney, all four try to deal with work, love, and life, while hiding behind a mix of drink, drugs and dancing. Meanwhile secrets are gradually revealed, old grudges resurface, and friendships are tested…

This play explodes with an intense energy, and a rhythm of language that is totally alien to me, yet is Port Talbot through and through. I’ve seen a lot of plays that were good, some even great, but not all had that special quality I’ve always looked for, the ‘wow factor’, and this play has it in spades. Written by Holly Carpenter, who also plays Skylar, the latest in our local production line of artists.

We’re famous for making steel here, but what’s not so well known is that we also make art. Burton, Hopkins, Sheen, and many more, we punch well above our weight, and although it might be early, I think we have another talent on our hands. As an actor Holly brings out the vulnerability of Skylar from behind her tough shell, a star turn, but her writing is just as impressive, and she is smart enough to give her fellow actors plenty of stage time.

The cast fully embody their characters, Meg, the calm eye in the middle of the hurricane, yet subtly knowing, especially about Skylar’s return. Jess, the career girl, manager of a travel agency yet with a wild side. Courtney, the ‘quiet’ girl with a secret of her own that might just change everything. And of course Skylar, the ‘hurricane’ itself, an equal mix of fury and doubt.

I found little in common with these four characters, but the fear of being a wage slave, a human hamster on the treadmill, rang a bell with me, as did the healing power of friendship.

For me the highlight was one character explaining their confusion over their sexuality through the medium of types of pie, which was funny, but also incredibly moving.

Jalisa Phoenix-Roberts gives Meg a hidden heart of gold, but with the strength to force Skylar to look at her true self.

Georgia Warlow shows Jess as someone with an anger born of desperation, yet remains a true friend.

Anna-Sophia Tutton portrays Courtney with a sweetness, but also with a subtle yearning.

The set is innovative and clever, a graffiti covered wall with hidden doors, cupboards and even a pull out bench. Director Samantha Alice Jones keeps the pace well, knowing when to ease the reins.

Although marketed as a comedy, and it is a very funny play, it’s also got hidden depths and important matters to discuss. Holly Carpenter has a lot of potential, I look forward to seeing what she comes up with next.

I don’t want to call it a love letter to Port Talbot but there’s no doubt it captures something of the hope that the town feeds on and the strength of the community within.

And if this is anything to go by, I think I’ve seen a future star.

Dumpy Biscuit is at the Plaza Port Talbot until June 29th.

Review, The Trials and Passions of Unfamous Women, Anaina Leite, Lara Duate, Clean Break, LIFT Festival, Brixton House, By Hannah Goslin

 out of 5 stars (3 / 5)

A part promenade, part traditional black box, The Trials and Passions of Unfamous Women brings the past and the present in a clash of injustice.

Beginning the production, we are introduced to our guide, our jester who introduces the performance in a casual and relaxed way. This character has its own darkness and path and isn’t one to forget. We are soon introduced to four different figures from past mythologies and stories, where we are given the choice of interacting with their stories. This later propels to the current day, a courtroom and continued injustices of women.

For me, it took a little time to realise and understand the reasoning for the great transition. The style and approach to them seemed very different, a potential disconnect but in time, did begin to culminate. The stories aim to transcend space and time and show that women imprisonment and hardship isn’t a new thing; it is steeped in history, and only changed its appearance from the invention of the justice system.

A clever staging; we are brought initially into opulance of these grand women, with their gold and magnificence over us. However, there was a choice to have different stories happen at the same time; you do not get to see all of them but the ones you do see create a spacial dynamic which is hard to engage with and you really do want to engage! I fear this is more the choice of performance space than a theatrical choice; the square room is pretty large but not enough to separate the sound. Not unusual for a promenade or immersive piece, we miss out on two stories, but all the more reason to come again. Despite the sound clash, microphones are provided and, perhaps a personal choice of mine, were relied upon too much and weren’t effective. They were there to help amplify these women’s voices and only hindered. It was hard to hear all the discussions and interactions. I personally would prefer no microphones in every show and the traditional projection to be used, but appreciate that Clean Break is known for working with non-traditional actors and therefore this may not be a focus.

Despite these nigglings, we get to a point where true stories of the women we see are broadcast. And they are done with informality, with vulnerability and courage. These are powerful and supported with theatricality but not bombarded. This subtlety is immensely effective and providing that moment to hook us in. Their familiarity and kindness to us as audience members in interaction is heartwarming, breaking a bit of the beginning sense of god-like characters and positioning them as one of us mortals, continuing to help tell the story of these ordinary women.

The Trials and Passions of Unfamous Women is a play with a lot of scope. The ideas are there and so is the effort, but some stage and tech choices sadly impacted its effect.

Review: The Bounds, Stewart Pringle, Royal Court Theatre, by Hannah Goslin

 out of 5 stars (4 / 5)

The Euros have kicked off. Dear England is returning to the West End. Is football coming home? They hope so in 1553.

This is the second play I have seen at the Royal Court focusing on historical football fans and their livelihoods around this time. Prior, Gunter featured this similar focus, pulling off into witchcraft and female alienation. The Bounds touches on this slightly, but this play is a bit more than that. It is about divides in place, in status, in religion. Dark but comical, and somehow relatable.

In London, there is currently a focus on regional plays and characters: Nye, based on the Welsh pioneer Nye Bevan; Boys From the Black Stuff, based in 80s Liverpool, and now The Bounds, again, bringing regional writing and theatre, from Newcastle. It feels like a rich time to bring these stories into the city and open up to other stories.

Rowan and Percy, as far as we can tell by their immediate interactions, are old friends. Grown up as some of the working class of the area, their only joy is to take part in this huge football game that spans miles between towns. There’s a modernisation to their attitudes and it is something we relate to, whether football fans or not. And somehow this is also pretty comical – a lively fan, impoverish and of an ancient time, shouting and bursting with excitement of a football game. The rapport between Rowan and Percy is natural, on beat and quick in succession. The back and forth “banter” sets the precedence for the play, and we relax into the setting.

That is until is goes all wrong. A appearance of a stranger changes this; suspicions arise, wariness unfolds and a secrecy is prevalent. This interaction starts off quite comical but soon it gets dark, with visions unnatural and non-nonsensical. When lighting changes and these “visions” appear, we are drowned in a sense of foreboding, an end of the world mystique and soon the laughter is long gone. We are forced to think of our own mortality, of the status of our World and it is an uncomfortable setting, with the actors almost making us teeter on the edge for a surprise that never comes.

The Bounds is a fantastic play, making you relax into a sense of security only to be directly pulled out of it. Combinations of the writing, actors and the stage/set all culminate to make something riveting and (in a good way) uncomfortable.

Review, Jennifer’s Higdon’s Blue Cathedral, BBC NOW, Hoddinott Hall by James Ellis

 out of 5 stars (3 / 5)

In their official end of their season, BBC NOW would wrap things up in their trying year, with no St David’s Hall, at Hoddinott Hall. Though they usually have one last flutter in the Hoddinott before the last concert at St David’s (then off to the Proms in London), this smaller scale concerts still have a lot of punch.

A hefty Cello Concerto from Dvořák, with soloist Alisa Weilerstein was an impressive start. All the folksy, good hearted nature of the Czech composer’s homeland is here. Written both in the US (where he taught) and his home, the piece is a three-quarter hour delight. Retrospective in nature, the home sickness also messed into his past love affair with his wife’s sister, who originally never cared for Antonín. This didn’t stop him putting her favourite song in the concerto. You’ve got to really like the cello for this to truly work, though the orchestra do bring out some ringing moments. The brass felt rather loud, perhaps due to the direct acoustics of the reliable Hoddinott. It’s always looks silly for a percussionist to wait patiently and then just play one instrument…that being the triangle for this large piece. Alisa makes the solo role putty in her hand, she brought many truths and I also was taken with her passion. She didn’t shy away from broad, proud moments and subtle, tender bars were noteworthy. Not quite my favourite cello concerto, but lovely all the same.

Blue Cathedral was our post interval opener from Jennifer Higson. Inspired by imagery of a cathedral floating in the sky, this liminal space in musical form, had lots of percussion and flamboyant instrumental moments for the orchestra. Some serene, Debussy like phases flattered the audience and some little bouts of harsh dissonance cropped up as well. I found it appealing, though felt it didn’t quite find its footing in its ten odd minutes.

A real rarity followed and a problematic one at that. The joyfully energetic American conductor Ryan Bancroft has treated us to his countries great musical offerings most notably Charles Ives, with a 150th  birthday celebration this year. African American composer William Dawson saw great success with his Negro Folk Symphony in the 1930s. Though he could not bottle this popularity, he revised the work after visits to West Africa in the hope to rekindle its past success. Whilst Dvořák encouraged American composers to utilise spirituals and other music from Africa, he set the gold standard for its use. There is much flair and drama in Dawson’s symphony, the mark of slavery and faith pierce through. Its quite intense and theatrical, remarkably I was still bored by it. Even the lovely use of harp and an anvil at the conclusion didn’t win me over. Its fusion worked well enough, I just don’t think it maintained the stamina for the over thirty minutes. Whilst I have my own reservations, I cannot deny the works place in history nor it’s influence under diverse composition.

Listen to this concert on 13 June 2024 on BBC Radio 3: In Concert, then available for thirty days on BBC Sounds.