The Perfect Show is co-produced by Improbable and ZooCo, showcasing that there are no limitations to what you can achieve. ZooCo are pioneers of exceptional accessible theatre, working with d/Deaf and disabled artists as leaders on every project as well as striving to make work that is accessible as possible to disabled audiences.
ZooCo has roots in the company being joint 2022 winners of The Oxford Samuel Beckett Theatre Trust Award, which supports the development of emerging theatre-makers engaged in bold, challenging and innovative performance.
Perfect show for Rachel presents chilled & relaxed performances with ounces of creative, immersive expression that uses audience participation to capture what Rachel requested! All performances are infused with creativity from singing, live music playing, improvisation and spontaneity based off Rachel’s choices & adaptability.
The essence of the show features both live captioning and integrated accessibility for d/Deaf and Hard of Hearing audiences. Due to the improvised nature of some parts of the show, some scenes were unapologetically funny and personal in connection to the buzzers Rachel chose from to aid her choices and decision making.
It’s exciting to see how the Barbican will continue their involvement with this unique production. And how the development of how the Perfect Rachel’s show evolves to reflect Rachel’s ever-evolving artistic incentives as she takes charge of crafting her story and showcasing her creativity as you step into Rachel’s world as she creates her perfect show.
The production runs from Fri 24 May—Sun 9 Jun 2024, more information here
Cardiff is seeing many fine eateries and places to be seen over the past few years. What recently caught my eye was the Coppa Club in their first flutter into Wales. It was all very exciting, a part of the timeless David Morgan building would be brought back to life.
I know the space well, my brother worked at the Moss Bros which was the past proprietor. Arriving to the club you could detect the faint whiff of new furnishings and new renovation smell (this was their tenth day of trading), though I’m sure that will go with time. I had little time to take in the space downstairs, which appears to just be for drinks and nibbles, the soft, autumnal colour scheme and cosy seats looked promising.
It’s wonderful to see the old glass dome upstairs still be in the space, this is where the Gatsby like bar now resides. I was served a delectably smooth espresso martini, I rarely fall into vodka though I’m thrilled I did here. A perfect way to be welcomed in, I cant recall which vodka was offered though I did clock Grey Goose and amongst others. A grip with the bar is that the mountains like stools are extremely heavy and only swivel a certain amount if degrees. The layout of the bar is a clever use below the dome, though the golden, mushroom lamps block a large amount of space in the bar’s surface. I should also point out this is not a club per se, no membership required.
A highly amusing moment came when a customer asked me where the toilets were, I had chosen to dress up this night. A barman passed remark how smart I had come, which as always nice. I do remain a bit disheartened when people don’t dress up at a restaurant. The music was a little to dance heavy for dinner, though volume levels were graceful. Sat in the corner with a view of The Hayes, a slight sight of scaffolding couldn’t be helped as it was next door. Quite simply lit, the dining area we frequented felt right in mood, the seats comfy and the table standard for two. The folded paper art work had me intrigued, stylish if uninspired, the patterned prints were fairly more alluring.
The squid to start was a fine thing. Cooked well, tender and with a fitting sauce, the food was off to a great start. As my main, this might be the best steak I’ve ever had. Dry aged for 30 days, I couldn’t believe my luck. Cooked to perfection as medium rare, some fries were crunchy and a side salad was heavy on dressing, though a fine garnish. The Béarnaise sauce is not quite my flavour, but that’s on me. I should have done a classic peppercorn sauce. I’ll regret that thoroughly. My plus one had the yellow fin tuna, trying some it was pink on the middle as it should be, tender and juicy, some potatoes and olives added depth to the plate.
All desserts were veggie, but no chance for a vegan this time from what I could see. I was recommended the sticky toffee pudding, which I wouldn’t usually pick. It was the honeycomb crumbs which finished this pudding, the rest was finely balanced. Wine choices of red and rosé added colour to the meat and fish choices, I was thrilled to have a cappuccino with skimmed milk, something which not every place has.
The staff need a massive shoutout, as some of the friendliest and alert I’ve encountered in the dining world. Some personal stories thanks to my plus one opening up, lead to insights and advice. We even got some holidays tips and recommendations. We were looked after so much and the staff are really selling the place. It’s one of their strongest assets.
One question remained after I had left: where exactly was the kitchen in the club? I saw neither chefs nor kitchen setting. There was little chance of it being upstairs and I recall the ground not as not being huge either. Having said this, this was a wonderful night, filled with joy and generosity. The Coppa Club is becoming one of the places to go in Cardiff. We are going back for a birthday soon, I’d imagine.
The Coppa Club, The Cardiff Townhouse, is now open for reservations and drop ins.
To see a world class performer at the height of his game is a wonderful thing to behold.
To see Usain Bolt at London 2012, or Freddie Mercury at Live Aid are two moments such as this.
The third is Michael Sheen as Aneurin Bevan in Nye the National Theatre/Wales Millennium Centre co-production currently playing at Wales Millennium Centre in Cardiff.
He delivers a masterful performance as Nye Bevan, the architect of the NHS. His portrayal captures Bevan’s passionate commitment to social justice, his fiery oratory skills, and the personal sacrifices he made for his vision. Sheen’s nuanced acting brings depth to Bevan’s character, portraying him not just as a historical figure but as a man driven by a profound sense of duty and compassion. This role showcases Sheen’s ability to inhabit complex characters and make them resonate powerfully with contemporary audiences.
The ensemble and staging are breath-taking as is the storytelling and how it’s portrayed. Granted at the start, a little confusing, but the beat of the narrative is soon at a pace where the viewer is able to tell different times. The staging and direction effectively evoke the era, immersing the audience in the political and social challenges of the time.
It will take you on an emotional rollercoaster and you’ll see historic references which in turn are as truthful today as they were then – maybe more so now with so much heart behind the story.
Overall, “Nye” is an inspiring and poignant celebration of a pivotal figure in British (and Welsh) history.
I would finally return to see our National Orchestra, with their homestay concerts now at their base down Cardiff Bay. St David’s Hall wont open its doors for another year at least and it’s great to see the players where they live once again.
The concert title of A Little Night Music would suggest at the very least a billing of Mozart, yet he was no where to be seen. This was a more adventurous fit with a world premiere from Irish composer Stephen McNeff with The Celestial Stranger. With poems by Walt Whitman, Dylan ThomaS and Hawian queen Lili’uokalani, with a focus on the discovery of verse by Thomas Traherne, a clergyman and mystic this was the foundation. The theme is a traveller from beyond the stars and tries to navigate our own world. Here, with the evocative tenor Gavan Ring, the songs were strange, developing more character as each went on. With nods to Britten, this setting held up as evocative and weirdly sensual. Always a pleasure to hear newly commissioned work.
Fauré was the first composer to set music to the play Pelléas et Mélisande. This alluring story sees tragedy and allusion in equal measure. Fauré recycled other pieces for the rushed play opening in London, this being the incidental music. In these sequences there is the light air he is known for, sweet and touching, very French. Debussy handled the story best with his opera, the watery scope a landmark of its era. Several composers wrote music inspired by the story, yet I’m sure Fauré is the least interesting of the lot.
It has been 150 years since the birth of Arnold Schoenberg which might see many concert goers terrified at the prospect of listening to him live. In what is a safe bet, his Verklärte Nacht or Transfigured Night is a wonderful gateway. No one would be offended by this early composition, it is later in his life he created the infamous serialism technique. Originally for sextet, this lush, larger string ensemble bring to life the verse of Richard Dehmel, seeing a couple in the forest face their troubles and realisation of commitment to one another. This is quite splendid really. The harmonies are just right, some ornaments and tricks also feature. The players here oozed a loving determination. The piece shone, vigorous conductor Jac van Steen blowing a chef’s kiss as ever at the finish, this time heart felt. Those doubting the Austrian composer’s style should consider Verklärte Nacht as a starting point. You might just be surprised.
This concert will be broadcast on BBC Radio 3 and then available on BBC Sounds in July 2024. It will also be filmed for future release in the BBC National Orchestra of Wales Digital Concert Series.
Cassa Pancho, the founder, Artistic dDirector & CEO of Ballet Black has again showcased raw, passionate and tightly synchronised works, with new choreography by Sophie Laplane and Mthuthzeli November. The first piece on the bill is entitled; About it First, exploring the themes ‘heroism & its complexities’ of everyday people, & everyone’s oblivion, inability & disservice to recognise heroic acts at times. We also witness competitiveness & vanity due to social media’s addictive streak in bringing out others ego in being recognised & acknowledged, as well as non-attempts to be seen and how everyone’s relationship with heroism plays out differently in the ordinary & the extraordinary.
The soundtrack includes music from Ludwig von Beethoven to Michelle Gurevich, with original sections composed by Tom Harold. The ambience throughout each dance set is eclectic & magnetic. The piece delved deeper into the themes; resolution, kindness, community orientation & mutual support, foretelling how heroism can act out in our daily lives. Each cast member’s unique tenacity combined with depth, energy and melody, additionally told a unique, empowering story of the human spirit. With sparkly jackets and other interesting detail to the Ballet Black casts outfits due to costume designer: Jessica Cabassa.
The second piece ‘The Waiting Game‘ offers a different spin of being torn between work-life balance, fine tuning between sanity & reality, navigating through uncertainty, collecting our thoughts & re-building strength, courage, rediscovering purpose and re-gaining hope.
The Waiting Game:
Choreography: Mthuthuzeli November
Music: The Waiting Game (2023) composed by Mthuthuzeli November & Alex Wilson
Lighting Design: David Plater. Original costume designs for 2020 by Peter Todd
It’s always a challenge to bring something new and different in a Jukebox musical, where some, if not all, of the audience are going to know (and want to sing along to!) the songs. What is refreshing about The Drifters Girl is that it comes at the story of The Drifters from a completely different angle; that of Faye Treadwell, the woman behind the infamous band. Faye and her husband, George were the duo who brought us the musical sensation and it is really a breath of fresh air to focus on the duo and, specifically, the woman behind the music.
The stage is well designed, with moving flats creating recording studios, stages, bars and the office of Atlantic Music. I especially loved that the projections behind the performers crackled with static and black lines, the image distorting slightly and reminiscent of 50s and 60s television. The set moves seamlessly behind the actors meaning that new scenes and areas are created with no distraction to the action. Projection is particularly well used in the very funny section where we see the tumultuous time in the Drifters history where the members of the band were repeatedly changing; their names projected behind them as we manically try and keep up with these rapid shifts. Light and sound is also clever; I thought this was particularly poignantly used in the police interview sections, where bright white lamps flashed, and rapid blackouts took us straight to an Arkansas police station where the band were wrongly accused of a crime, simply due to the colour of their skin. Lighting was used to great effect with beautiful tableaus capturing the emotional moments; the band cast in blue light, spotlights, in darkness, whatever the moment called for.
The music is obviously a highlight of the show with toe-tapping numbers, including Saturday Night at the Movies, Come on Over to my Place, Save the Last Dance for Me and many more. The performers raise the roof with fantastic vocals and slick dance routines capturing the essence of the original performances. The Drifters switch with ease, becoming Ben E King, Rudy Lewis, Clyde McPhatter, Johnny Moore and the various other members of the band. It doesn’t matter which one takes the lead singer role; Ashford Campbell capturing starstruck Ben and tragic Rudy, Tarik Frimpong electrifying with his dance routines as Clyde and Daniel Haswell belting the high notes with ease as Johnny. Taking on the key role of George Treadwell is Miles Anthony Daley, breaking our hearts with There Goes my Baby, his voice soaring. The physicality and fast-pace costume changes is incredible to watch. Once minute they’re in the band, the next they’re feather clad showgirls! But throughout it all, you are never in any doubt as to which character you are watching.
The boys are complemented well with ‘The Girl’ played ably by Jaydah Bell-Ricketts, encouraging the tale to unfold; she is a constant presence on stage as she comes to understand the story of her mother’s part in the band’s history. Last and by no means least, is The Drifter’s Girl herself, Faye Treadwell played by Olivier Award Winner, Carly Mercedes Dyer. Her voice is wonderful, especially during Harlem Child and I Don’t Want To Go On Without You. You could hear a pin drop in the theatre as her vocals soared. She perfectly captures the battle that Faye Treadwell faced not only as a woman, but as a black woman in the music industry. Her command of the stage during her musical numbers is a joy to watch.
The show is full of humour and heart, but also touches on the racism faced by the band and Faye but also the sexism of the industry towards Faye. The words ‘No Irish, No Dogs, No Blacks’ remind us all too well of our own very recent history of racism and the issues we still face to this day. Faye being asked ‘how long she has worked FOR the band’ and then asked, ‘which one are you sleeping with?’ reminds us that women still face this kind of question, even today.
It’s ultimate message as the audience got to its feet at the encore is that we must keep going and ‘do what is necessary’ to overcome whatever might be thrown at us. Faye’s determination that the Drifters would go on after losing her husband, in the face of outright prejudice and bigotry is still such an important message to be taken home with us after we leave our seats. So, this is more than your average jukebox musical, which is what makes it stand out amongst the likes of Mamma Mia and We Will Rock You. Yes, the music is wonderful, but the message is just as important as the songs that will draw those audiences in.
From My Neighbour Totoro, to the world acclaimed Spirited Away, Anime theatre is growing as a trend on stage and Studio Ghibli is taking over the scene. Full of Japanese folk magic and stories, the exploration of different culture is hitting mainstream and changing the way of theatre.
Studio Ghibli has a enormous following. It has transferred to memes, popular culture, a staple amongst the alternative and with all films on Netflix, crossing into the more well known. Totoro began this new theatrical stream last year, in partnership with the RSC and has lead the way to new grand and impressive performances.
Spirited Away is the story of Chihiro who gets lost in a magical bathhouse and meets strange creatures and gods along the way. She gets tangled into misadventure on her quest to get back to her parents and her real world. It is comical, strange and magical.
The story begins in a forest and so the stage is already set up for this, foliage creeping into the walls, across boxes and the orchestra pit, giving that sense of immersion and invitation. Generally, the set is incredible: revolving structures, elements that come from the floor, the ceiling, the wings – there is so much to making the ever changing scenes and this happens seamlessly and effortlessly. The set itself is well crafted and beautiful, reflecting to minute detail the scenes and colours in the film itself. It is very much as if the film has been transferred exactly to the stage, supported by exact costuming and theatrical techniques to bring the magical creatures alive.
Puppetry is huge in this piece, with standard puppetry, supported by puppeteers, to fantastic inventions using different sizes of the same character for perspective, surprising use of the auditorium, creating those “wow” moments. The larger creatures range from the building of different pieces together to formulate as one, operated by various puppeteers, to full bodied costumes. The effect is incredible and reflecting almost exactly to the film. No Face, noted for growing in stature throughout, begins as one person – the costuming and movement, almost butoh-esque and bouffon-esque, is unusual and works together to create this figure that is almost human but certainly moves differently. As it grows, more people add to this movement and large props are used. The impression is magnificent and so fantastically well done.
A live orchestra makes this especially special, bringing life to Joe Hisaishi’s well known compositions and filling the auditorium with whimsy. I say it all the time, but there is certainly something awe-inspiring of live music accompanying theatre. While the production is innovative, the live orchestra brings it back to theatrical roots.
What was also brilliant and unlike the recent Totoro, is that, along with keeping to the story almost exactly, the production was in Japanese. It was wonderful to hear original language on a west end stage and enveloped us in that immersion. However, subtitles were supplied but very much at the side of the stage. While I know the story, I felt my head consistently turning to read and unfortunately, this took me away a little from the scene. I felt I missed the beautiful minor elements and some action and likely will have to come and see again without engaging in subtitles.
Spirited Away is magnificent, beautiful and extremely theatrically clever. It is almost a carbon copy from film to stage and a great introduction to Anime but also a proud moment for already existing fans.
What do you expect from a show with such a title? I’m not sure. I wasn’t sure if I was attending satire, a royal love letter or a complete reinvention of Diana Spencer. In a way, it was a little bit of all this and a whole lot more.
We meet Lady Di, in heaven, retelling her * untrue * story of love, loss, death and gay rights. We rush through her life in a whirlwind, facing facts we know from the papers and others that are assumed/invented. Boundaries are blown away, laughter is rife amongst the chaos and reinvention is something of genius.
Linus Karp is the absolute spit of Diana in physical form and in every mannerism. They have it down to a tee in the subtleties and in the elements we know her for; the voice, the slight head tilt, adding other hilarious physicality such as the perceived stiff royal wave. While scripted, there are moments of ad lib which are done in the most Diana of ways and keeping entirely to character. There are certainly moments when you need to remind yourself that this is not the real Diana and this is the untrue story.
Camp, hammed up multi-media and narratives are included, moving a story to something very theatrical, satirical and utterly hilarious. Repeated phrases such as “I am the Queen” or “Whatever X means”, just become funnier and funnier. Expected but always a brilliant theatrical addition. It adds to the chaos and the comedy of it all. Karp is also not afraid to attack conspiracy theories, pop culture references, bold statements, change facts to fit the comical narrative, about the royals and the dark humour of this is done without holding back, which only makes it more genius and more funny.
With this being a 1-2 person cast, many other elements are supported by audience members, prompted by the big screen, to get up, perform and read lines. We have Lady Di’s parents, a corgi, made up nannies… all which threw themselves into the roles and had fun. The audience was spectacular and really took the interaction with all they had. It made the show flow and added to the comedy and enjoyment, to see that they also were having a great time being involved.
Diana: The Untold and Untrue story is a laugh a minute, humorously dark and boundary pushing, with that extra sprinkle of campness: a perfect performance if you want your sides to split while questioning if Diana has been resurrected in front of you.
I can think of many television dramas which feature mental health as a theme or part of a storyline. But to have it at its core makes Creisis a rarity. The facts which appear at the end suggest that it’s grounded in real-world evidence. The complexity of the protagonist Jamie’s journey over the course of six episodes points to a verisimilitude that takes no shortcuts. This is public service broadcasting at its most powerful and important: informing and educating through entertainment to shed light on an experience in an authentic and engaging way.
Gwydion Rhys embodies his leading role with a stereotypical form of masculinity in which cracks are slowly exposed and the façade gradually crumbles. He confidently addresses the camera in a gracious nod to Anfamolin the opening episodes. But these become few and far between as he turns from explanatory narrator into observed patient. The subtlety with which the audience gaze changes to focus more intensely on his own mind forms part of the potency which gives Creisis its cutting edge. And as it does, the line between imagination and reality, truth and fiction, becomes cleverly blurred. Before this, there is a gradual but increasingly noticeable descent, with clear effects on his family, neighbours and colleagues. The glass shards which disseminate his body in the title sequence come to be prescient in more ways than one. This really is an examination of the ailing mind.
Wife Janette is clearly long-suffering but also devoted. Sara Gregory plays her with strong will entwined with compassion. Line manager Huw (Arwel Gruffydd) is mixed with similar: a serious exterior masking a soft inner soul. There is overwhelming concern from all his fellow staff members which dissipate their quirky mannerisms once Jamie is brought into the Mental Health Unit not as an equal but under their care. Head of Service Natalie (Hannah Daniel) is the only one who is close to being a two-dimensional character. Daniel displays a villainous intent that contributes to Jamie’s state of mind to the extent that she almost becomes a caricature. Even best friend Barry, who is not quite what he seems, is granted emotional versatility by Alex Harries in order to illicit both sympathy and anger from the viewer. Meanwhile, Melvyn and Mary offer light relief through their sweet relationship marked tragically by dementia. Wayne Cater and Rhian Morgan may be part of a subplot but contribute beautifully to the whole with performances that are suitably ordinary and, as a result, wonderfully apt.
What seems to drive Jamie is a desire to fix things, including people. He is chaotic, innovative, reckless and passionate in his attempts. But in the end, he must acknowledge that he is broken himself, in part because he believes that he could and should have fixed another. Grief is both the cause and effect here, revealed in such myriad ways within the context of everyday lives that it touches on some form of accuracy. Not that experience can be boiled down. But in the individual story lies something of the universal. This is what Creisis seeks to capture, and it does so rather well. Mental illness is taken seriously and is never curbed by expectation. Including in its finale, when instead of the usual heartwarming finish, it introduces an open-ended curveball that continues its commitment to realism.
There is much to learn and appreciate here. Creisis demonstrates the art of skilful and well-researched writing to make this one of the best explorations of mental illness in modern television.
I am ashamed to admit that my knowledge and version of Sleeping Beauty is entirely from Disney. I’m used to the owl dancing in a coat, an impossible leaning cake (which I want for every birthday, even at 31 turning 32) and the big dragon. So when I came to this production, the storyline following, at times, a different path, it was like a new story for me.
These differences are subtle. But to summarise the story of The Sleeping Beauty in this production: a girl (Aurora) is cursed by an evil fairy, after she isn’t invited to her christening. When she pricks her finger on a spindle, she would fall into a 100 year sleep. And so up until her 16th birthday, all sharp objects are eliminated from the palace. The evil fairy manages to sneak a spindle in and Aurora falls to her fate. Only true loves kiss releases her, where she awakes to a beautiful marriage and guests of fairy-tale royalty.
In this day and age, we are so used to modernisation of tales, of a reinvention of tradition, and often this is refreshing and allows the story to be told in a new way. However, Birmingham Royal Ballet went against this grain and kept it very traditional. And this, in itself, was absolutely refreshing. The opulence of the stage, the set, the costumes was exquisite and gave me a goosebump-ed feeling of the days of old, where audiences dressed up to attend and were part of the elite. The beauty of this, is that, at a very affordable price, anyone could come to this production and get that exact feeling. They get to come and feel special, and that was evident in the eyes of many young children in attendance.
The stage had so many layers to it and rose so high, that we felt as if we were really in a grand European castle or palace, with all the pomp and circumstance, the historical costumes along with the beautiful and decadent tutus, allowing us to not only be transported in time but in place.
Accompanied by a live orchestra, the tradition continued with the accompaniment, but also felt extremely special. There’s something about live orchestral music that makes you shiver with awe and excitement, and the atmosphere it helped to create were effective with the change of the mood of the scene.
The dancing of course was spectacular. Not a foot was wrong and tradition continued to seep through in each member, whether a principal or in the background. The only qualm is that some more technically advanced moves that required balance did not always translate to the dancers face and so the panic and concern of this became evident and made that moment lose its magic somewhat.
The end of the story, we are treated to new characters who attend the wedding. Puss in Boots, The White Cat and Little Red Riding Hood are introduced, providing some giggles and some change of pace. It’s only at the end in the final bow that a few more appear in the guise of a Sultan and another furry creature. This was a little confusing and likely to do with some tradition in the ballet. However, it felt a little out of place and distracted somewhat from the celebration of the cast.
Overall, seeing traditional ballet and in the form of a story I thought I knew, but evidently did not, was magical and special. We were transported in time, in place and into a fairy tale world.
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)
(4.5 / 5)
