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Review, The Drifters Girl, Wales Millennium Centre, 8th May 2024 by Bethan England

 out of 5 stars (4.5 / 5)

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.

Review, Spirited Away, London Coliseum, by Hannah Goslin

 out of 5 stars (4 / 5)

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.

Review, Diana: The Untold and Untrue Story, Awkward Productions, Kings Head Theatre by Hannah Goslin

 out of 5 stars (4 / 5)

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.

Review, Creisis, S4C, by Gareth Williams

 out of 5 stars (4 / 5)

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 Anfamol in 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.

Click here to watch the series on BBC iPlayer.

Reviewed by
Gareth Williams

Review, The Sleeping Beauty, Birmingham Royal Ballet, Sadlers Wells, By Hannah Goslin

 out of 5 stars (4 / 5)

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.

Review, Mammoth, BBC Wales, by Gareth Williams

 out of 5 stars (3 / 5)

The premise of Mammoth is far-fetched. But go along for the ride and this Welsh sitcom doesn’t disappoint. More funfair than theme park, its zaniness takes time to get used to. Once in the flow of Mike Bubbins’ world though, there emerges a strange empathy for his protagonist, resulting in a desire to return for more. It is a shame then that three episodes is all the BBC could muster.

The first episode is a whirlwind narrative. If the task was to squeeze in the life and times of Tony Mammoth in 25 minutes then it succeeds. But not without its fast pace feeling like a rush job. We go from his resurrection on the side of a ski slope, after being buried for 40 years underneath an avalanche of snow, to his reappointment as a PE teacher at Nowlan High School in the blink of an eye. Add in the quirky comedy and it’s possible for all this to be taken with a pinch of salt. It is not until the revelation, at the end of the episode, of Sian Gibson’s doting and overprotective parent as his daughter, that the programme settles and gains traction. Episode two certainly feels more stable even as the humour remains offbeat.

Most of the laughs arise in the dissonance between Mammoth’s 1970s worldview and the liberalisation of a 2020s UK. He is a boozer, pipe-smoker and womaniser, in a world no longer chugging back beers or treating women as objects. He struggles to come to terms with the fact that his boss is not only a woman but a lesbian too. Mali Ann Rees is suitably dismissive as Lucy, despairing in his attempts to connect with out-of-date references and inappropriate behaviour. She is the straight woman to his not-so-wise guy, a partnership that works and even finds slight affection blossoming between them by the end of episode three. Gibson, for her part, delivers an enraged performance opposite Bubbins’ calm exterior which also leads to funny moments filled with fondness. One cannot help feeling for Mammoth even as his views verge from the baffling to the squeamish. In this regard, he follows in the footsteps of other self-absorbed but strangely-lovable male leads, from Glyn Tucker (The Tuckers) to Ben Harper (My Family) and Victor Meldrew (One Foot in the Grave).

For so short a run, this sitcom is awash with verbal and visual tropes. Always playing with the generational difference, it is often the simple exchanges that invite the biggest smiles. The fact that he says “over” at the end of each correspondence at the drive-thru, he gives a pupil “10p [to get] a Marathon from the tuck shop”, and plays music to his class via a tape recorder all add to the ambience with charming effect. Then there’s the playing of “Burn Baby Burn” at his friend Barry’s funeral, giving a rabbit CPR on a wellness retreat, and riding into a café on a horse for daughter Mel’s birthday, that make his world peculiarly comical. It is not without its touching moments though. When fellow friend Roger (Joseph Marcell) poignantly sings the theme tune to Blankety Blank before he scatters Barry’s ashes, the tragedy of the situation is deeply felt, even as it remains absurd.

The ending is a good one, hopefully indicating at the promise of more. For most sitcoms take a while to get going and hit their stride. Mammoth is no different. Mike Bubbins has created a prime candidate for a great British sitcom character. There is enough here to warrant further. It may be odd but it is likably so. Hyperbole at its finest.

Click here to watch the series on BBC iPlayer.

Reviewed by
Gareth Williams

Review Oh What a Lovely War, Theatr Clwyd by Donna Williams

 out of 5 stars (5 / 5)

Marking the 60th anniversary of Joan Littlewood’s epic anti-war musical, the award-nominated Blackeyed Theatre production of Oh What a Lovely War brings this outrageously satirical production to Theatr Clwyd in Mold this April, and what a triumph it is, earning a much-deserved standing ovation on opening night.

Oh What a Lovely War was developed by Joan Littlewood and her ensemble at the Theatre Workshop way back in 1963 and is a satire based on World War I. You might be fooled in to thinking then, that this piece is surely outdated with its traditional war songs and sarcastic of-the-period humour, but how wrong you’d be! This musical has spanned the decades and is sadly more relevant now than we would wish to admit: the idea of war as a ‘game,’ the harrowing casualty counts displayed for all to see, the pompousness of the ‘higher ups’, hosting parties behind closed doors whilst young men fall at the front. This production exposes war as an oxymoron in itself- a laughable tragedy. We know how the Great War went, but we are still shocked and somewhat guilt-ridden when we go from a Sister Susie’s Sewing Shirts singalong with the cast, snap into the latest number of dead and wounded displayed on screen and the disgusting dismissal of these by those in charge as simply that, numbers.

The cast take us on a journey of emotions from the get-go. As we enter the auditorium, members of the cast are already in full swing- talking to the audience, passing round balloons, allowing us to play their tambourines and so on. Total theatre at its very best- we are already immersed in the action. Victoria Spearing and Naomi Gibbs’ design falls somewhere amid the original production’s use of Pierrot costumes and Richard Attenborough’s 1969 film version’s more literal use of military uniform, with a simple yet effective set which, at first, transports us to a circus tent complete with strong man and ringmaster, then on to a music hall venue with pianists and cabaret singers before heading to the trenches, the towns and cities of Britain and beyond.

The cast are flawless and not only take on several roles with a multitude of accents and characteristics (often only visualised with a small accessory such as a hat or a coat) but are also the ‘band,’ playing a variety of musical instruments throughout. They also provide the vocals for all songs as well as all sound effects. There are moments when it is hard to believe we are not hearing real gunfire- no recorded SFX needed. It would be unfair to single any cast member out as they all quickly proved to be triple-threat performers and told the story with incredible energy, excitement, and sentiment.

The direction, by Nicky Allpress, is superb with so many visually stunning elements. The contrast of these beautiful moments against the backdrop of the brutality of war is extremely powerful. Highlights include passionate versions of well-known melodies including Keep the Home Fires Burning, Roses of Picardy and And When They Ask Us, the infamousChristmas Truce in the trenches beginning with the British Expeditionary Forces hearing German troops singing carols and a cleverly staged generals’ Ball, during which the male cast dance with sequined gowns and take on the roles of the generals as well as their wives!

This production is pure entertainment from start to finish- aesthetically exquisite, perfectly cast and the ideal combination of hilarious and horrifying.

Oh What a Lovely War completes its run at Theatr Clwyd on April 27th, 2024. The tour will conclude at Cornerstone, Didcot on May 17th, 2024.

Recommended for age 11+

Running time: Approx 140 minutes (including interval)

Oh What a Lovely War | Theatr Clwyd

Cast:

Tom Benjamin

Tom Crabtree

Harry Curley

Alice E Mayer

Chioma Uma

Euan Wilson

Creatives:

Director- Nicky Allpress

Musical Director- Ellie Verkerk

Movement Director- Adam Haigh

Orchestrator- Tom Neill

Set Designer- Victoria Spearing

Costume Designer- Naomi Gibbs

Lighting Designer- Alan Valentine

Projection Designer- Clive Elkington

Company Manager- Euan Wilson

Technical Stage Manager- Symon Culpan

Assistant Stage Manager/Swing- Elli Damarell

Set Construction- Russell Pearn

Properties- Chantal Addley

Producer- Adrian McDougall

Press- Chloe Nelkin Consulting

Review, Operation Julie, Theatr na nÓg, The Riverfront, Newport

 out of 5 stars (4.5 / 5)

I’m not sure what to expect as I take my seat at The Riverfront in Newport. A tree trunk branching over a stage set with psychedelic colours and ready for a rock gig is the perfect set for this show. The true story of the greatest drugs bust in history bursts onto the stage with its actor-musician performers alive with energy and blowing the roof off the theatre, even in the opening number.

The loveable cast of characters are introduced through their instrumental solos; an eclectic mix of guitars, percussion, cow bell, oboe and more. They switch between instruments, being ‘in the band’ and in the show and even between characters with poise and speed, costumes change in the blink of an eye, accents alter and even the stage crew are in costume, moving the set on and off stage. This means we are instantly transported back to the events of 1975 and 1977 in rural West Wales, the music mixing perfectly with the sometimes barmy, but always heartfelt plot.

The action opens with Londoner, Richard Kemp in his lab, mixing his latest batch of acid, the one that will cause a catalyst that he hopes will change the world. The couple of Richard and Christine are excellently played by Joseph Tweedale and Georgina White and their singing voices are amazing; ethereal in places, singing the prog rock score with ease. From there, we are catapulted into the lives of Smiles and Buzz with a hilarious section of Buzz driving Smiles to pick up his acid from various locations. Gerry accompanies them in a surreal yet side splitting section, where we feel ourselves swerving with the ‘car’ as Buzz spins the wheel. More excellent voices and fantastic comedic chops come from Daniel Carter-Hope, Sion Russell Jones and Dan Bottomley.

We visit the various other locations of the story including the police station where the ‘chameleon’ of the piece Phylip Harries delights us as PC Evans (he also plays Wil Bach and Wright throughout the rest of the tale). The scenes alongside Kieran Bailey as Richie Parry are so well executed, the lines pacey and thick with local references that the audience love. Richie is the perfect opposite to Steve Simmond’s cockney copper, Dick Lee. They’re like the original odd couple, colliding worlds, and personalities in their efforts to execute the largest drugs bust in history. A highlight for me, (without spoiling the surprise), is Steve’s musical number at the end of act one; he definitely got the audience rocking! Finally, Caitlin Lavagna gives a multi-role masterclass as she switches roles (and costumes!) with ease between landlady, Sgt Julie, Meg and Anne Parry.

These talented performers navigate the material with ease, expertly directed by Geinor Styles, who also wrote the show after interviewing a range of people who lived through the events, including Smiles himself and Anne Parry, Richie’s long suffering wife. This lends an authenticity to the piece; the characters live and breathe on the stage, brought to life through excellent writing. The musical direction also brings out the best in this talented cast, the music of the time brought to life by Greg Palmer.

The show is very funny, but at the heart of it all is a story which pulls us right back to the modern-day issues we are facing now. Kemp’s moving speech at the end, intended for his court case, but never delivered, is poignant; emphasised by the images projected behind him as he speaks. This movement was not only about the drugs; it was so much more; it was the start of a revolution intended to make people sit up and listen to the very real world issues starting back in the 70s and that we are now facing in 2024.

I was sorry I missed this when it toured in 2022, so I am thrilled I got to catch it this time. This psychedelic, surreal, trip of a musical play makes us laugh, makes us feel joy but is counterbalanced with this powerful message that we are left with as the music fades. The real-life Smiles sums it up perfectly; hoping the play hits the right chords of the serious issues that the LSD was trying to tackle, but also hoping that the sheer joy of the time is captured. I think the audience members would definitely agree that Operation Julie hits these targets and a lot more. Catch it if you can on this limited 8-week tour!

A Review, Voices – can you hear the Voices?

The Silent Volunteer, featuring Hiraeth by Sue Bevan.

Do YOU remember 1966?

Ah yes, England won the Soccer World Cup – lest we forget!

WE REMEMBER 1966

A terraced community aligned on a mountain slope. Aberfan, a South Wales mining village facing the ravages of time, when despite the warnings a darkness of coal sped downwards as a generation slipped into eternal slumber as heavy rain mixed with wind and an encompassing mist descended on the village that very morning

The date was the twenty-first day of October 1966.

Avant Cymru – Rhondda’s very own forward thinking theatre company – had been preparing the play “Hiraeth” producing the Valley Voices for playwright Sue Bevan’s portrayal of her experience as a young First Aider who attended the avoidable tragedy that struck that village community. Like so many others from the mining communities, alongside essential workers, local T. A.s (Territorial Army cadets) and including a newly trained nurse who in the future would become the mother of actor Richard Harrington.

Their memories linger long

Two venues presented “The Silent Volunteer” Two performances were at St Elvan’s Church, Aberdare on Thursday,11 April followed by two performances at the Tylorstown Welfare Hall and Miners’ Institute on Friday, 12 April.

Devante Fleming distributed the Meeting Agenda as people gathered at the Welfare Hall in Tylorstown. Matthew John Bool and Rachel Pedley joined Devante as Adam Vaughn addressed the audience to begin the play. They entered an exchange of conversations on the state of the past, discussing the present situation as Cler Stephens approached the audience. Cler’s monologue was both eloquent and poignant interpreting the playwright Sue Bevan’s very words

“Have you ever washed a child’s hand?” cleaning the bodies in an attempt to rinse the blackness of slurry and the turmoil that arose from within the deep blackened thoughts.

“Were you, as a parent, asked to prove how close you were to your child?” The audience remained visibly shaken

I would challenge anyone not to be moved by these powerful words. Cler was in front of the audience pleading for them to think of the future of their children and grandchildren. Their faces told her that they were listening. It was a genuine voice its message ran true.

The cast assembled on the stage dressed as of the sixties, mini dress, high platform white boots, the shirt and cardigan the dad who worked in the pit and the Mam in an office or factory. The Bopas (honorary name for the Valleys female neighbours as Aunts who would look out for the children in their street.)

A time when the children could play safely in the streets no heavy traffic, the boys perhaps wishing to be a Bobby Charlton (playing for Wales of course!), the girl who would perhaps become a teacher or for them to be grandparents to a family that would cherish them.

“You watch my windows boyo!” Bopas would shout as the opposing teams shifted the football from one side of the street to the other.

The Secretary who would take notes taken from the Engineering Official expressing concern about the tip overlooking the Pantglas School adjacent farm and village. Letters were sent throughout the 1950s and 1960s highlighting the danger and anxiety of the community as the coal tip loomed larger and larger. Urgent requests for investigations to be conducted answered stating that the “pipe” or “culvert” problem had been rectified.

Suddenly there was an almighty Roar that exploded within the Hall leaving us all slightly shocked as the cast remained rigidly still on the stage. The cauldron of neglect reverberated the terror of it all. The silence was deafening

It was around a quarter past nine in the morning when a catastrophic collapse of colliery spoil (around 140,000 cubic yards) engulfed the school and surrounding area.

School assembly had finished, attendance records were being taken as the children looked forward to the Half Term holidays No one would hear the distressing screams, the adults clasping the children close to their bodies, for they must have known what was coming and could not do more than cover the children in a quilt of love and comfort. 28 Adults and 116 children lost their lives that day. Do you remember?

Adam Vaughn sang Ar Hyd y Nos an emotional Farewell to innocence. Later the cast came down from the stage and asked the audience what they could have learnt from that time. Rachel portraying a Mam who was unconsciously wringing her hands in torment as she rinsed the school clothes of a beloved lost child. The World claimed Aberfan as its own with a warning that other tragedies could and would occur with no accountability

Tears were visible in the eyes of all the cast and audience, emotionally drained and moved by this brilliant performance highlighting the obscenity of such a disaster.

There were Guests at both venues. At Aberdare, the Lewis Merthyr Band played their Requiem to Aberfan. The Children’s Commissioner for Wales, Rocio Cifuentes viewed the assessment for compensation as “appalling”. It was a performance that left the audience in tears and still angry as it is relevant today as the village of Aberfan may lose its Community Centre

The Guest at the Welfare Hall in Tylorstown (the only such Miners Institute that remains in the Rhondda Fach and is the heartbeat of the community) was Natalie Sargent, Development, Manager Wales, of the Coalfields Regeneration Trust, who in a Question and Answer Session alongside members of Avant Cymru believed that we should all share a community of voices for future generations. Let the message be that the coal tips of South Wales are NOT SAFE. Coal may well have empowered the UK and yet, with a cry, the Valleys are raped repeatedly.

On a personal note, across from my house I saw the landslide of slurry slide like a tsunami one February day in 2020 I screamed inwardly and groaned “Not again!” No one heard me. We were lucky there were no fatalities. My village lies beneath the Tylorstown Tip aka Old Smokey (as it once did) below it is a farm and at the valley bed stands the Junior School (sound familiar?).

Aberfan is sometimes referred to as a “unique catastrophe” Not in the eyes of the communities of the South Wales valleys. It grew from the past capitalist greed and gross contemporary official negligence for which no one was punished. A standing ovation was received by the cast members and playwright. They had told, presented and produced the story in a superbly thought-provoking way. This play should be shared across the UK

To end thus

To misquote an Agatha Christie novel

Why didn’t they ask the people or community /

There are some wounds that apologies can never heal

All photographs courtesy of

TRACEY PADDISON PHOTOGRAPHY



Adam Vaughn

Matthew John Bool

Devante Fleming

Rachel Pedley


7 Words 1135

Devante Fleming

Adam Vaughn

8 Words 1135

Matthew John Bool

Devante Fleming

9 Words 1135

Cler Stephens

Ann Davies

Jess Morgan

10 Words 1135

Appreciation from the audience at the Tylorstown Welfare Hall and Miners Institute 12 April 2024

11 Words 1135

Cler Stephens

“Have you ever washed a child’s hand?”

Monologue from “The Silent Volunteer” by Sue Bevan

Review, Pren ar y Bryn/Tree on a Hill, S4C/BBC Wales, by Gareth Williams

 out of 5 stars (4 / 5)

“Hell’s Bells” is the phrase that sticks from Pren ar y Bryn / Tree on a Hill. “Bingo” too. Both are utterances of Clive, a quirky character, played by Rhodri Meilir, who is representative of this offbeat drama. Filmed in Welsh and English, the former went out on S4C around Christmas whilst the latter appeared on BBC Wales from Easter. And though both are fairly similar, there is something about Cymraeg that offers an eccentricity not quite matched in its Saesneg counterpart.

https://www.youtube.com/watch?v=S6mV1mTQXLQ

Right from the start, the programme is off-piste. The presence of a model village is symbolic of a dream-like quality that permeates into the lives of Penwyllt’s real-life inhabitants. The brass and percussion instruments of the soundtrack, resembling arhythmic, improvised jazz, add to its oddness with their chaos. It is at once tragic and comic – a duality that runs through the series like a winding river. The titles are reminiscent of a B-movie; and indeed, complete with the music and faded colour palette, could have easily come from the 1950s. The addition of a rather outlandish murder plot and several strange occurrences mean that, in some ways, Pren ar y Bryn / Tree on a Hill is quite unique in the contemporary TV landscape.

Ed Thomas

It would be no surprise to find The Singing Detective as an influence upon the creators of this drama. It is certainly very different to the more serious and sombre work of producer Ed Thomas (Hinterland, Bregus). Here, he takes the elements of a classic whodunnit and turns them inside out. He borrows from the absurd of sitcom, the emotion of kitchen sink drama, the aesthetic of arthouse film, and even a little from the genre of horror, to create not just a narrative but a whole world that is strange and surprising, silly and sinister. Meilir, for his part, brings a wide-eyed innocence to his role. Deadpan, emotionally understated, yet physically expressive alongside Nia Roberts, who is beautifully awkward as his wife Margaret. Richard Harrington is perhaps the only straight-talking member of the cast as Glyn, the catalyst on which this fabulous yarn unravels. Yet even he is used in a subtle exploration of mental illness that comes to define most of the characters here. Themes of loneliness and change and liberation all feature in a drama that is both brilliantly barmy but with surprising emotional depth. A dead body in a basement freezer is the best description (without giving too much away) of its sliding scale between the ordinary and surreal.

Watch Enid a Lucy, Dal y Mellt and Y Sŵn, even The Way, and you will find a penchant for the off-kilter, ironic, and darkly comic in Welsh drama. The spectral and otherworldly nature of realist pieces like Parch, Yr Amgueddfa and Gwledd also feel very representative of a certain aesthetic that continues into Pren ar y Bryn / Tree on a Hill. Such ingredients somehow work better when the Welsh language is weaved into them – something in its rhythm and pace and tone that differs from the English; that contains a sense of mystery and magic that forms part of the nation’s identity. In which case Pren ar y Bryn is recommended as the preferred watch. Though Tree on a Hill doesn’t miss out on so much that it can’t be just as enthralling.

Click here to watch either series (Welsh or English) on BBC iPlayer.

Reviewed by
Gareth Williams