Tag Archives: featured

Review, Andrew Brownell & Benjamin Frith, Wigmore Hall, London by James Ellis

 out of 5 stars (4 / 5)

There’s something about two pianos that’s just so exciting. Andrew Brownell and Benjamin Frith at Wigmore gave a sweet coffee concert to swipe away the Sunday blues. Wagner’s Overture to Tannhäuser, in the arrangement by Léon Roques flourishes. Famously open and not as engulfing as late Wagner, the overture is packed with a perfect main melody, towering scales and an overflowing sense of drama. Both pianists captured the essence of this early Wagner opera and it was a fine concert opener. I love the kinetic energy between them. I want to hear them do Satie, Messiaen.

Saint-Saëns followed in a surprisingly dull twist with his Variations on the trio section of the Menuetto from Beethoven’s Piano Sonata Op 31. No. 3. I was left so unmoved by this, it’s amazing how trite the French composer can be. Others after affirmed their dislike. The melody seems to be moved around neither cleverness, nor genius. I will listen again to try and find something of worth. Its a longshot…

Gershwin’s An American in Paris ended with a more jumpy thrill. The great musical is shrunk into these 20 odd minutes, the eternal melodies of the composer always there. The mania of Paris is depicted vividly, the sensational ballet sequence also getting its due here. Andrew and Benjamin looked like they had fun, Gershwin’s scatter bolts of notes are always fun. You should really let rip in this jazz work and they both did. Great stuff!

Review Disney’s Aladdin – Wales Millennium Centre by Kate Richards

A Feast for the Senses!

 out of 5 stars (5 / 5)

As soon as I saw that Aladdin was the big Christmas production at the Wales Millennium Centre this year I wanted to go, and after seeing the trailer I had really high expectations (which is often dangerous) but I am delighted to say that it surpassed my high expectations in every way!

From the second the curtain goes up; this epic production is a (wonderful) assault on your senses!  I was expecting colour, a few good special effects, an atmospheric set and some high-energy singing and dancing but WOW!  It’s genuinely hard to know where to start – it truly was Disney brought to life!

I can’t even imagine how many trucks it must take to transport all the set, props and costumes for this production, even the cast member with the smallest part must have at least 8 costume changes, each one, brighter, more colourful and sparkly than the last!  My 12-year-old self-re-emerged and was mesmerised by the set and the costumes, and I’ve no doubt that every little girl in the theatre was jealous of the perfect Princess Jasmine (the enchanting Desmonda Cathabel) resplendent, in turquoise and crystal!  Then, just as you thought she couldn’t get anymore ‘Disney princess-like’, she emerges in a pale pink wedding dress that shimmers with every movement. Every ‘girlie girl’s’ dream!

But don’t let that put you off boys – Aladdin is the perfect story for a family show because there really is something for everyone and this production capitalises on that brilliantly!  The high-energy and humour brought to their roles by Gavin Adams (Aladdin) and his band of buddies (Nelson Bettencourt, Adam Taylor and Nay-Nay) would definitely appeal to many of the young boys in the audience, not to mention the shiny silver sword fights, the soldiers and the ‘baddies’ – Jafar (played by Adam Strong) and his hilarious side-kick Iago (Angelo Paragoso).  Tap dance sections complete with top hats and canes take you back to the classic days of musical theatre and cabaret, and iconic songs from the original animated film are reproduced with feeling and precision.

So, what about our Genie?  Fans of the live action Disney film will know that Will Smith is a hard act to follow in this role but let me assure you that Yeukayi Ushe does a spectacular job! He definitely has the stage presence to pull off this role with his energy, nuanced comedy and just the right amount of ‘camp’! I don’t ‘have a friend like him’ – but I definitely want one!

For me, it was the set, the effects and the costumes that put this production above other musicals I’ve seen.  I’d heard people saying before the show, how good the flying carpet scene was – and it really was – not a wire or a safety harness in sight (and believe me we were looking), but I wasn’t prepared for the cave scene!  It was exactly as wonderous and glistening as a cave full of treasure would be in any child’s imagination, and that’s why this production doesn’t disappoint – it feels like it has been plucked straight out of a child’s imagination.  No expense has been spared in the costumes, the set and the props, so add that to the talented cast, the fabulous tunes and the special effects and you have a recipe for pure Christmas magic!  My guest told me that she ‘didn’t know where to look’ for much of the production as there was so much going on and so much to see and I have to agree; it’s one of the only musicals I’ve ever walked out of and though ‘I’d like to see that again’!

A wonderful start to my Christmas, a delight for the whole family, I can’t recommend this magical production highly enough.

Aladdin is playing at the Wales Millennium Centre until 14th January.  For more information and to book, please click here: https://www.wmc.org.uk/en/whats-on/2023/disneys-aladdin

REVIEW Jac and the Beanstalk, New Theatre by Barbara Hughes-Moore

It isn’t a proper Cardiff Christmas without a trip to the New Theatre, now the official home of Wales’ biggest panto. Over the last few years we’ve seen classics like Cinderella, Snow White and Aladdin – and their latest festive offering Jac and the Beanstalk, truly is a giant of a panto!

Jac and the Beanstalk. Image credit: Tim Dickeson

Starring the iconic Lesley Joseph (Birds of a Feather) and Cardiff’s favourite Dame, Mike Doyle, the story follows Jac (Adam Bailey), a poor country boy who dreams of saving his hometown of Cardiff from the evil giants who live above them in a city in the clouds. Accompanied by girlfriend Jill (Denquar Chupak), brother Silly Simon (Aaron James), and mum Dame Trot (Doyle), Jac goes on an epic quest to defeat the giants’ villainous henchman Fleshcreep (Steve Arnott) with a little help from the Spirit of the Beans (Joseph).

Aaron James and Lesley Joseph in Jac and the Beanstalk. Image credit: Tim Dickeson

With an un-beet-able cast, hilarious jokes and eye-boggling visual effects, its no surprise that Jac and the Beanstalk is a wonderful night of festive family entertainment. When I spoke to star Adam Bailey a few months ago, he also promised some great musical numbers – and boy do they deliver!

Lesley Joseph and the ensemble cast of Jac and The Beanstalk. Image credit: Tim Dickeson

There’s an adorable song featuring the village’s furry friends, a villainous Disco ditty complete with dancing demons, and a standout sequence to Dua Lipa’s ‘Dance the Night’ from Barbie courtesy of Jac and Jill (though it’s a shame they never went up a hill at any point). And the a-maize-ing ensemble is responsible for the best dancing I’ve seen in a panto: kudos to the super talented James Davies Williams, Phoebe Roberts, Amber Pierson, Marcel Li Ping, Janine Somcio, and Lauren Wadsworth.

Mike Doyle in Jac and The Beanstalk. Image credit: Tim Dickeson

Director and choreographer Nick Winston keeps the story light, bright and breezy while writer Alan McHugh and the fabulous cast yield up a fresh crop of Christmas crackers. And the visual effects team outdoes themselves with a heart-pounding, pulse-racing trip to the giant’s lair – in 3-D! (Glasses are provided but you might want to bring your own brollies…) Suffice to say it’s bean on my mind ever since.

A perfect Christmas gift for all the family, Jac and the Beanstalk truly is entertainment beyond be-leaf!

Jac and the Beanstalk is performing at the New Theatre through to 7 January 2024. You can find more information on the show and book tickets here.

Review Barbie by Ayo Adeyinka

Barbie 2023: A Kenundrum of Gender, Capitalism, and Coming-of-Age Revelations

‘Barbie,’ at its core, delves into the intricate dynamics of gender identity and societal expectations, particularly through its’ central characters- Barbie and Ken. The film grapples with the notion that masculinity, unlike femininity, is often defined in negation, a constant proving of oneself to society, other men, and women. The plot beautifully weaves a narrative where Ken’s struggle to cover up his perceived lack and Barbie’s journey toward self-realization serve as metaphors for broader societal challenges.

The film subtly addresses feminist ideals but, as anticipated by many, falls prey to the constraints of capitalistic demands that inevitably come along with working with a prominent piece of commercial property owned by a major corporation. This particular sentiment was a concern expressed by both director Greta Gerwig, known for critically lauded films like ‘Ladybird’ (2017) and ‘Little Women’ (2019), and actress/producer Margot Robbie who said “we had to be upfront… we wanted to honour the brand but not shy away from the problematic parts…otherwise, its not a movie we’re interested in making.” While ‘Barbie’ attempts to gesture towards feminist concepts, the film’s need for broad appeal arguably dilutes its potential impact, as it can’t seem to fully articulate a version of feminism that is truly threatening to both patriarchy and capitalism.

Despite this, part of the film’s success is its ability to provide the audience with a sufficient understanding of feminism’s multifaceted nature without being overly theoretical or heavy handed. Therefore, it may be beneficial that ‘Barbie’ isn’t some indie movie assuming a pretentious pseudo-philosophical stance, but is itself a piece of commercial property that critiques ideology from within. Nonetheless, Gerwig maintains her indie sensibility, enabling the film to transcend being merely pro-Mattel propaganda and succeeding as an aesthetic work.

On an especially positive note, framing ‘Barbie’ as a coming-of-age story injects fresh life into the narrative. Barbie’s journey from stereotypical representations to self-realization mirrors a rite of passage into womanhood. Ken, too, grapples with identity initially tied to shallow ideals, reflecting the challenges boys face in defining their path to manhood in a world where embodying healthy forms of masculinity seems increasingly difficult. Amidst this exploration, Barbie attempts to seek answers from Mattel, only to discover that corporations can’t provide the meaningful answers she seeks (shocker)—a revelation that feels particularly pertinent for modern viewers.

Another notable aspect of the film is Jacqueline Durran’s phenomenal costume design; the characters’ style transformation reflecting their internal growth. Initially, Barbie is always dressing for an event, a task. And Ken dresses in relation to Barbie. If it’s Malibu barbie, he’s Malibu Ken. But as the movie progresses, Ken sees ways of dressing in the real world that accord with him and the version of himself, he aspires to be (even if this version isn’t truly his ultimate ideal- it seldom is when you’re growing up). Meanwhile, Barbie’s outfits become less tied to a specific function and more human, signifying a move towards self-acceptance, detached from stereotypical representations.

Through Ryan Gosling’s superb performance, Ken emerges as a compelling character, sympathetic and comical even at his worst. The film’s representation of patriarchy is potent, emphasizing the absence of a governmental structure in the Ken world as a commentary on the intangible yet pervasive nature of patriarchal ideals as well as ideas’ ability to structure social reality. In its reflection of societal norms, ‘Barbie’ raises questions about the pursuit of equality, mirroring real-world scenarios where women may be represented up to a point, yet it still feels as though true equality remains elusive. The ending, mirroring the unresolved state of societal issues, prompts contemplation on the gap between ideals and reality. Barbie’s evolution into a true subject, marked by her possession of a reproductive organ, is a poignant symbol of liberation. The film cleverly subverts the objectification of Barbie by presenting her reproductive organ not as a fetishized ideal but as a brute marker of her newfound subjectivity.

Arguably, ‘Barbie’s’ greatest triumph has little to do with the film itself and everything to do with its marketing campaign, which effectively convinced various different groups that the movie was targeted at them — from adult women to young girls. However, after watching the trailer, it seems odd to me that any parent would conclude the film was explicitly targeting children, although Kubrick’s ‘2001: A Space Odyssey’ is famously every 9-year-old girl’s favourite film.

Moreover, the cultural phenomenon that was ‘Barbenheimer,’ pertaining to the simultaneous release of ‘Barbie’ and Christopher Nolan’s ‘Oppenheimer,’ achieved high levels of monocultural saturation at a time where cultural fragmentation has never been higher. This instance of counterprogramming played on the bizarre contrast between the fantastical, comedic, light-hearted nature of ‘Barbie,’ and Oppenheimer as an intense, biographical thriller, to great success. Barbie’s marketing, like the film itself, leaned heavily into traditionally feminine aesthetics, and its success points to the dearth of movies specifically targeted at female audiences- a lack which Oppenheimer’s contrasting marketing only accentuates. Cinema has long favoured male-centric narratives, and in turn, has underestimated the commercial viability of stories centring on women. It’s not merely about creating films with prominent female characters but crafting narratives that depart from stereotypes and offer nuanced views of the women depicted (arguably a failure of Oppenheimer, but that’s a topic for a different review).  

In conclusion, ‘Barbie,’ while not without its flaws, successfully engages with complex gender dynamics and societal expectations. Its narrative depth, coupled with nuanced character development and striking visuals, provides a thought-provoking and thoroughly enjoyable experience.

Review, The Turn of the Screw, Ustinov Studio, Bath by James Ellis 

 out of 5 stars (4 / 5)

Photo credit: Ellie Kurtz

It would be another train strike preventing me from getting to Bath for the press night of The Turn of the Screw. I’ve been thinking about their take on Machinal I saw on Halloween and through it all, I love coming back. In Benjamin Britten’s chamber opera, the Ustinov Stuido has it’s only second opera performed in it, after last year’s Dido and Aeneas.

It is staggering just how much of Britten’s operas are the abuse and lust of older men upon a younger male. Be it his masterpiece Peter Grimes, Billy Budd or Death in Venice (the latter we will see with Welsh National Opera in the spring), he latches on to these stories as if but an obsession. The composer’s own personal desires aside, he did have the genius to pick work so charged with depth and drama. This Henry James story was a suggestion of librettist Myfanwy Piper, who’s eloquent and piercing prose is a tremendous part of the opera. A  borrowed line for the opera from W. B. Yeats seems to sum it all perfectly: “The ceremony of innocence is drowned”.

The Governess is assigned to be the main care giver for two orphans, in the country estate of Bly in east England. She meets Mrs. Grose with Miles and Flora, and settles in. Things are not what they seem as a sinister figure lurks the halls: Peter Quint. This man has abused young Miles and the prevoius governess Miss Jessel, who also appears in ghost form. Can the new Governess protect herself and the children away from this awful presence?

This stripped back arrangement sees two pianos, a celeste and a lone flute. I’d have loved to have heard the full ensemble, though the weight of the score lived in the duo pianos. Fascinating to listen to, I marvelled at the sour nursery rhymes, English folk like charms  the feverish moments of anxiety, along with the aurora of the other realm. Directed by Isabelle Kettle, I think even more could have been done to add to the atmosphere, two worlds collide in a fight to claim the innocents as their own. A long transparent shower curtain appears to be the veil between both worlds, designer Charlotte Hennery should be praised for her accurate costume design. Some props are present, the children use the pianos as another fun device in their house. Even a dead crow (quite possibly a raven) is used in one scene. All very unnerving…

Photo credit: Ellie Kurtz

Xavier Hetherington is both the Prologue speaker (this could be the children’s father or even Henry James) and Quint. I don’t think enough was done to make him a seriously intimidating figure’, with a grip of power. In voice, Xavier had some beguiling moments, like the children we are won over by his light song. Sarah Gilford owned her role as the Governess. Her gradual decent into despair over losing the children to supernatural forces is traumatic and depressing. Really ringing in voice, never an easy role to tackle. I was quite smitten. Emma Bell as Mrs. Grose give heaps of back story over the awful goings on. I dont think I’ve ever heard her in poor form, in the War Requiem nor Wagner. Her sublime moments of harmony with Sarah was worth the journey alone.

Two fairly challenging roles are for Miles and Flora, here from Arlo Murray and Catherine Mulroy. They channelled the roles well, acting not perfect, though I wouldn’t expect it from such young ages. Arlo’s take on ‘Malo…Malo’ as he learns his Latin was another highlight. Catherine’s glee and darker side are all here, her voice also pleasing. Miss Jessel is Elin Pritchard, a brief character, though with fairly sad moments. Elin offered up stirring sympathy and a clarity in her voice.

Double pianos from Aleksandra Myselk and Henry Websdale were amazing to watch. All the harsher moments, the trills and eerie lines all shone. The celeste also from Myselk came in for colour and sharpness. Flautist Carys Gittins had little to do, though wowed in the second act with weird registers and attacks.

The Turn of the Screw runs at the Ustinov Studio till 23 Dec 2023

Review Castellana, Cardiff Christmas Festival by Rhys Payne.

 out of 5 stars (4 / 5)

In my opinion it is always incredible difficult opening a show as you have to not only establish the standard the audience can expect from everyone else, but you also need to force the audience to get excited despite what may have happened before they set foot in the Fortuna Spiegeltent tent.

I know that I would be incredibly stressed If I was in the MC’S shoes, but Velma Celli seemed to excel in this intense position. There was not a single drop in energy or excitement as the host kept the audience hyped throughout and even dealt with delays flawlessly. They helped to introduce each act, mask the getting ready periods and even treated us to a few performances throughout! In fact, the whole show was opened by Velma who delivered a vocally incredible rendition of Black and Gold. What I thoroughly enjoyed about this number is the fact that as the number went on each of the acts graced the stage as a subtle introduction to each of the performances and a tease of what to expect from the evening. Velma had people in the audience in stitches throughout the evening whether it was picking on “Santa” sat in the front row or serenading a random audience member (who took it all in high spirits) with an array of crudely parodied Christmas carols!

Later in the evening the incredible duo of Paul and Louise graced the stage to showcase their balance-based skills. What I personally found incredible about this performance in particular was the fact that both of duo were showcasing their skills as often times it appears that the male partner is them simply as a strong foundation for the female to dance/contort around. One of the highlight moments of this performances saw Paul lay on his back while Louise placed her feet near her partners neck and learn forward. She went so far forward that she was a mere few inches from face planting for the floor while her partner leveraged his body to support her ever step on the way which was incredible to watch. The entire performance was full of flips and tricks throughout with these two talented performances clearly have a great chemistry both on and off stage! This pair returned in the second act to showcase an incredible roller-skating-based set. At one point in the routine, the pair circled each other only for Louise to hook her feet around her partners neck as they both continued to spin around. This trick was cleverly repeated multiple times with each iteration different enough to not bore the audience, but it was the final version that truly wowed the crowd! They had donned a rope hoop style contraption which connect the two performers simply by their necks and the cyclone of dance happened one last time, but this time Louise not only span in a horizontal circle but also twisted through the air in an almost impressive pencil twists the entire time! I thought it was very clever for the curators of this routine to repeat the same trick but adapt it slightly each time as it gave structure to the performance yet prevented the audience from being bored by seeing a similar trick!

One of my favourite performers of the evening was the amazing Miss Betsy Rose who treated the audience to a bit of burlesque. Now I am only a recent convert to the art form (having seen my first two burlesque shows just last week) but I do think it does not get the reputation it deserves. This style of dance is not simply about removing your clothes as quickly as you can but the sensual art of teasing the audience, which Betsy has down to a fine art! In classic burlesque style they showcased the most wonderful and over-the-top facial expressions and punctuation on almost every beat with a powerful movement which created a very cohesive and mesmerising performance. This performer was actually one of the first people we saw during the opening ensemble track as she dazzled the audience by dancing on the stage before Velma joined her to sing the song. The way her entire body was perfectly synced to the music not only built up the excitement but also made for a fantastic thing to experience! One of the things I was particularly fascinated is how the feather fans were utilised in such a way to almost give them a life-like breath but also used to frame part of the body which the audience went wild for. Every single person in the venue was transfixed by Betsy Rose with her gorgeous and energetic movements and every time an item of clothing was teased the audience went wild!

I have to be honest and say that fire spinning is never been an art form that I have found particularly fascinating, until I saw the incredible Penny Valent who graced the stage with a stunning headpiece that was set on fire which helped to introduce the main theme of their performance. The set began with the traditional fire batons which was frightening enough on their own but when bigger tools were introduced, we all know that something insane was about to happen! What I did not expect however was the unusual fusion of a sparkling light show and fire twirling! These bigger batons were short of sparks throughout, but the highlight came where she began wasting them with caused streaks of flames to cut through the air which was met with gasps each and every time! I was sat a few rows from the front but every time she motioned with these bigger sticks and intense waft of heat ran through me so I can only image how hot it would have been for the performer on stage! This was not the end however as the performer purposefully set fire to the stage itself causing a wall of fire to act as a backdrop to the performance!

My favourite performance of the evening, however, would have to be Little Finch who delivered a unique act of both simultaneously balancing of a hanging net. I must admit that my first thought as the two very attractive performers graced the stage was that it reminded me of a Jean Paul Gaultier advert. The act started as a wonderfully camp and fun number as two male sailors fell in love and shared a kiss (which the audience cheered immensely for) and then began to dangle from the ceiling on a net. Now I have seen numerous aerial routines but what I have never seen is two people performing the gravity defying skill at the same time! They carefully balanced themselves on one another while their partner was carefully balanced in the net which looked intensely dangerous but was met every time with roars from the audience!  We had Jonathan Finch earlier in the evening when they gave a wonderfully fun hand balancing performance on top of a series of boxes. While upside down this performer decided to proceed to remove their stockings with their feet which I cannot even comprehend how you to even begin to think about doing this never mind performing it in front of a live audience! Yet again this performance was giving face throughout the whole performance which add a wonderful sense of comedy to this very dangerous art form!

Overall, this year’s iteration of Castellana leant much more into a cabaret/variety show style format with the omission of last year’s hard to follow storyline picked up and dropped throughout the show! There was an eccentric mix of burlesque, live singing, hoop routines, aerial acts, fire spinning etc. which made for a very exciting show as you never knew what to expect next! There were a few mistakes throughout the evening such as stumbling, missed cues and tricks going wrong but I for one would never be able to do even a quarter of what some of the performers did on this evening! This performance is clearly intended for a more mature audience as there was swearing, sexual references and mature acts throughout the show but equally it was one’s sexy way to welcome the festive season! I would rate this production four out of five stars! If you want to get yourself some tickets for this event in Sophia Gardens then you can purchase tickets here.

Review Sleeping Beauty, Theatr Clwyd by Donna Williams

Celia Cruwys-Finnigan as Muddles, Phylip Harries as Nurse Nellie and Dan Bottomley as King Dom in Sleeping Beauty at Theatr Clwyd. Picture by Andrew AB Photography

 out of 5 stars (4 / 5)

Theatr Clwyd is currently undergoing lots of exciting changes including the refurbishment of the Anthony Hopkins theatre in which their annual rock ‘n’ roll panto usually takes place. Therefore, this year sees its transition to the Big Top. Seating over 900 audience members on three sides of the stage, this circus style performance arena is certainly a break from the norm. And maybe it’s the change from what has always worked that left this year’s production missing a little je ne sais quoi. Although magical in other ways; the in-the-round style of theatre, the magnificent costumes (just when you think Phylip Harries’ dame can’t get anymore whacky!) and a rip-roaring rendition of the Twelve Days of Christmas complete with oversized props and plenty of audience participation- the production just gets a bit lost on this huge stage. The small cast are constantly present, unless darting off for a quick costume change, and they frequently come out of character and point fun at the fact that it takes them a long time to get from one side of the stage to the other!

On entering the auditorium, we are greeted with an open stage: giant web-like dreamcatchers hang from each side and a huge, sparkly spider (Olwen, voiced by Sian Gibson) hovers in the corner. As the show begins, she speaks, and it seems that she will be the narrator throughout. However, Olwen the spider is then only alluded to on a couple of occasions. Nevertheless, the concept of spiders and webs seems to be present throughout, Dame Nurse Nellie even fashioning an impressive costume of silky spider webs in the finale and yet there is no ‘through’ story regarding spiders and no version of the classic tale that I can remember, involving a spider. This concept just doesn’t seem to come into fruition.

Chris Patterson’s writing offers the usual ‘oh no he isn’t’, ‘oh, yes, he is’ type interactions as well as plenty of boos, hisses and an audience soaking! The most memorable gag, well deserving of a mention, happens when Nurse Nellie chooses her favourite male ‘victim’ from the audience, sits him down on a cinema chair with a box of popcorn and reminisces about their first date- using film titles as (rather naughty) puns! A lot of the jokes this year push the boundaries between child friendly and adult humour which works well (phew!). However, it feels that there is a lot of unnecessary toilet humour this time around. I’ve been known to enjoy a good old ‘fart’ gag now and again but more than a couple and they start to lose their droll. Always refreshing is the use of the Welsh language, heard plentifully throughout the production as the plot is brought to Mold Castle with mentions of Rhyl, Abergele and other local areas and landmarks, allowing the audience to feel more engaged with the action.

This production includes a stellar cast with fantastic vocals, super talented musicianship and a varied repertoire of songs including Destiny’s Child’s Bootylicious sung wonderfully by the three fairies(with cleverly altered lyrics- ‘I don’t think you’re ready for this fairy!), a beautiful rendition of Coldplay’s Fix You accompanied by the audience swaying their phone lights in the air and Ben Locke’s accomplished version of Kate Bush’s Babooshka (in fact, Kate Bush features again later on- thank you Stranger Things!).

It’s difficult to single out any cast member as all are truly fantastic in their own right. However, standouts for me are returning cast member Dan Bottomley as King Dom who brings just the right about of comedy and sentiment to Beauty’s father, and Alice McKenna as Fang who is often a standout for me each year and whose vocals truly raise the roof. Special mention, as always, must go to Phylip Harries’- in his 20th year in panto at Theatr Clwyd he certainly doesn’t disappoint- it’s difficult to imagine this Christmas tradition without him!

Despite the move to the Big Top, Theatr Clwyd’s rock ‘n’ roll panto still packs a punch and I’m always in awe of its triple threat performances and unique take on the classic fairytale. Oh yes, I am!

Theatr Clwyd, Mold

December 8th, 2023- January 6th, 2024

Writer: Chris Patterson

Directors: Francesca Goodridge and Daniel Lloyd

Assistant Director: Juliette Manon

Casting Director: Kay Magson CDG

Set and Costume Design: Adrian Gee

Musical Director: Tayo Akinbode

Choreographer: Annie-Lunnette Deakin-Foster

Lighting Designer: Johanna Town

Sound Designer: Matthew Williams

Fight Director: Kaitlin Howard

Company Stage Manager: Cassey Driver

Deputy Stage Manager: Edward Salt

Assistant Stage Manager: Emma Hardwick

Technical Assistant Stage Manager: Jay Kemble

Cast includes: Dan Bottomley, Celia Cruwys-Finnigan, Theo Diedrick, Phylip Harries, Emma Kinney, Ai Kumar, Caitlin Lavagna, Ben Locke, Alice McKenna, Georgina White

Review, Angela Gheorghiu Operatic Gala, London Philharmonic Orchestra, Royal Festival Hall, London by James Ellis

Photo credit: LPO

 out of 5 stars (3 / 5)

The LPO gave a fairly resplendent rendition of Tchaikovsky’s 1st Symphony. Dubbed the ‘Winter Daydreams’, the promise of an exceptional career in music is here. It’s easy to say it’s lovely, yet I found most of the work remained attractive. Not as bold as later work, the nickname easily evokes the imagery fitting for this festive concert. Maestro Gergely Madaras had shape and form, the heftier moments never feeling like a chore. Musically it remains rooted in it’s era of late romance. Typical, if still mostly charming.

In what was orignall billed as a night with Reneé Fleming, she had to bow out. We were given the absolute diva from Romania, Angela Gheorghiu, one of the opera world’s biggest stars. Finally a chance to hear her live! Things started off very ropey with Caro mio ben by Giordani, this being a Italian heavy set. She sang a select few arias, half of the second half must go to the players and Madaras for their wonderful Prokofiev Troika, Polonaise from Eugene Onegin and Polovtsian Dances. Though there were some major issues with her voice, her classic Puccini arias (Madama Butterfly and La bohème) had style, if a little rough around the edges.

Perhaps the most lovely was her take on L’altra notte in fondo al mare from Mefistofele. Boito’s superb aria was the middle of the choices and I think had the most resonance. She seemed to rise above previous issues in the set and excel here. Gheorghiu’s may be past her prime and I truly hate having to say that, yet what I did love was her big presence. Her laughter and lavish costumes wont be forgotten. It was quite camp really. I expected Ru Paul in the front row.

A highly memorable encounter, perhaps not for all the right reasons. 

Review, Cosmic Pulses, GBSR Duo & Sound Intermedia, Kings Place, London by James Ellis 

 out of 5 stars (3 / 5)

Klavierstück XV SYNTHI-FOU for multiple electronic keyboards and eight-channel electronic music
STRAHLEN for vibraphone and ten-channel electronic music
COSMIC PULSES eight-channel electronic music

What was most likely my last night in London this year was spent at Kings Space. I’ve yet to get back in Space One, this evening was in their stuido space. GBST Duo and Sound Intermedia offered up delights from the real odd ball: Karlheinz Stockhausen.

Wales’s own Siwan Rhys began with the fast approaching anticipation of Klavierstück XV SYNTHI-FOU. I loved her jump suit and massive flares, very serious till the end, even with a keytar too. The galaxy of chords and mutations from the keyboards were perplexing and wonderful. The work sort of gathered up all other sounds and had the limelight with its serious demands. I’d revel at the score no doubt. It was the wild and unending scope that I’ll savour. Siwan’s pulling off the fingers of her gloves, counting this down with added musical notes was somehow amazing.

Then along came George Barton with Strahlen. This vibraphone heavy piece has the tender middle ground which might have faired more fitting as the starter. The strands of notes relentlessly patter about, a miniature theremin also proved smooth glissandi. I wanted to nod off during this point, the piece worked but had its own demands. A little too long as well, I found joy in Geroge’s golden jacket was a treat.

After the break, it was up to Ian Dearden as sound designer, who had done a fab job all night, unleashed upon the audience Cosmic Pulses. We sat in near darkness, our live duo nowhere to be seen, as we focused on this electronic piece. It was constantly modulating, loud yet not extremely harsh. I heard an electrical storm, speech, a flock of birds and even Mr Blobby all within its acoustic. Perhaps this could have even been picked as the opener? It felt two parts ludicrous, one part transcendent. 

Review Santa’s Wish, Cardiff Christmas Festival by Katie Berrisford.

Santa’s Wish- A Wonderful Adventure for the Family

When I see a show, I always try to pick my favourite audience member. Someone who is completely engaged with the show, believes everything they are seeing and having the best time. At Santa’s Wish at the Spigeltent there were a lot of audience members to choose from who fit this bill! My winner was a tutu wearing, headbanging small folk who got a high five from Santa- I can only imagine the challenge her parents had of taking her out of the wonderful venue!

Indeed, the reactions from the audience were a beautiful example of what happens when an engaging, entertaining and festive show ticks the right boxes. The beautiful setting allowed a lovely intimacy between actors and audience, something often impossible in Cardiff’s much bigger venues.

The impressive ensemble show saw 5 talented performers getting to show off their skills and clearly have fun on stage. Alex Roberts’ cheeky humour and ability to draw the audience in grabbed everyone’s attention right from the start. Briana Paine’s impressive vocals carried the story of being kind to each other- along with some impressive moves. Often when an acrobat is part of a play they can seem tacked on or a one trick pony, but this was not the case with Briana Paine– instead they were an integral part of every scene, with some extra aerial magic sprinkle through. Dyfrig Morris’ dulcet tones and gravitas created a very believable Santa, and Millie Davies shone as Snowflake the Elf- in an outfit I was definitely jealous of.

The whole production was a highly polished affair, tricky in an unusual space and with the amount of props needed coming from different directions- despite a slight malfunction with the magical jam jar, but this was smoothly recovered by the cast. You don’t go to family shows for the plot, and this was the show’s weaker area, but there were plenty of messages to take away to consider for the meaning of Christmas.

Santa’s Wish is on until December 24th and is a treat for all ages. Tickets range from £15-£29.50 which is quite an investment for a family, but sadly this is in line with most prices across the city for a festive treat. Go along to enjoy some original music, impressive acrobatics and the chance to receive a high five from Santa!