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Review, Lucy Railton & Joseph Houston, Patterns in a Chromatic Field, Kings Place, London by James Ellis

 out of 5 stars (3 / 5)

A return to Venue 1 of Kings Place prior to lockdown is a thrill. In hearing one of Morton Feldman’s larger pieces, requires a lot of concentration. Its the sparseness which is easy to recall, some would declare it as creepy, squeeky door horror. Not so…

In this 80 minute work for cello and piano, Patterns in a Chromatic Field unfolds and has a lot of allure. The cello here does not weep, it moans, sighs and squeeks. The piano adds another depth, not quite accompliment, more the second sphere to this cocktail. Feldman’s sombre and sober visions makes for a wonderful aura in the concert space. The momentum gradually increases, the cello plays with a more free and expressive direction. So easy to get lost in a work like this.

The strange plateaus hoover around and leave as if a ghost. I found it become almost touching, the ending alone with the silence had a huge impact. It’s very easy to hear Webern and Messiaen’s Quartet for the End of Time. Lucy Railton had such stamina throughout. All the odd, little techniques shone, each phases a new journey. Joseph Houston had fantastic moments on the keys. Total softness and brooding lower register come to mind. It took about two thirds in to fall into the piece for me, I still found it demanding. The audience around me were geared up with coffee or beer. A young girl chattered only a little during and a phone or two went off. They didn’t disrupt the atmosphere, as the music is so thick. Me being so tried only complimented the theme.

Review: Yoko Ono: Music of the Mind, Tate Modern, London by James Ellis

 out of 5 stars (3 / 5)

It’s staggering the amount of hate Yoko Ono gets. Wrongfully blamed for breaking up The Beatles, after getting with John Lennon, she and her art has been mocked, judged and dismissed. In the biggest UK show to date, The Tate sets the record straight.

As we arrive before entering the space, we can leave notes on wish trees, one of many Japanese inspired ideas in her art. A video of her eye permeating the threshold to entry, we hear her on the phone and read tiny messages from personally. There is a vivid video of a match being struck, her work on fire may hark back to her escape from fire bombs of the Tokyo of her childhood. An escape to the countryside and the sky bring an influence is also essential.

We as the audience can take part in her work: doss around in a black bag, hammer a nail to a block of wood, walk over the canvas itself. The taking part is fun, though I think the chance for more than one person at a time would be encouraged. Her time in Japan, London and New York sees her ideas form and thrive, there is plenty of poetry and jokes. Collabs with John Cage and his partner David Tudor are also excellent. Getting a chance to hear this was a highlight. The video of bottoms is also telling and nicely filmed.

You can sit and watch the infamous Sit in Bed Piece with Lennon, creating your own art as you do. Listen to her music back catalogue, take a piece of jigsaw from a helmet for peace. Yoko asks us to create the art in our own minds, as we are given many prompts to do so. The idea of peace has been so important to her for years and now her messages are more important than ever. We got to draw in a room with a refuge boat. I showed off my Giotto circle. Children felt like they could muck in, which was lovely. A girl amused me saying she was scared when I was engulfed by the bag. It’s almost a burqa, the imagery is very similar.

I’m down to come back and muck about more, though I doubt the naysayers will be moved.

Yoko Ono: Music of the Mind runs at the Tate Modern till 1st September 2024

Review Jesus Christ Superstar, Wales Millennium Centre by Jane Bissett

 out of 5 stars (5 / 5)

Wonderful, powerful, explosive and emotional almost to the point of exhaustion is the only way I can describe the first night performance of Jesus Christ Superstar at the Donald Gordon Theatre at the Wales Millennium Centre – IT WAS ELECTRIC!

The whole performance was an assault on the senses from curtain up to the final act and culminated in a roaring standing ovation which brought the whole theatre to its feet.

Jesus Christ Superstar is a sung through rock opera which focuses on the final days of the life of Jesus from his triumphal entry into Jerusalem up to and including his trial and crucifixion. Written in 1969 by the amazing and talented duo, Tim Rice (lyrics) and Andrew Lloyd-Webber (musical score) has not been without controversy and comment. It is the age old story of popularity, fame, deceit, betrayal and corruption.  First brought to the stage in 1970 and to the big screen in 1973, it has endured for over 50 years and by the reaction of the Cardiff audience will continue to do so for many more to come.

Ian McIntosh’s performance as Jesus was inspiring. He took us on a journey of understanding of a man who was victim of the system and indeed an ultimate scapegoat for the ruling powers to control the masses. An age old story which is as relevant today as it was then.  McIntosh’s voice rocked the auditorium with every song.  His performance when bloody and beaten was so powerful that my theatre companion, who is generally very calm, admitted to wanting to stand up and shout “leave him alone!” and indeed you could feel a change in the atmosphere in the auditorium.

Shem Omari James (Judas) was outstanding and it was too easy to be swept away with him as he struggled with his emotions as he became the betrayer Jesus has predicted.  James gave a truly credible performance, his powerful voice was gripped with emotion and drama as he sang and this in itself translated his inner dilemmas.

When Hannah Richardson (Mary) took to the stage and sang it was almost a respite. Richardson was a most believable Mary, compassionate and heartfelt, when she was on stage you were always drawn to her as she seemed to anchor those around her. I enjoyed her performance throughout and her voice was quite haunting.

Matt Bateman who played Annas, the first High Priest, was wonderful. His voice and performance throughout was true opera, matched beautifully with the amazing voice of Jad Habchi which was like a deep liquid velvet and honestly I was memorised every time he opened his mouth and unable to take my eyes from him. Even if you didn’t realise you knew instinctively that that these guys were the baddies.

The casting of this production was superb. The costumes, set design and lighting were not what I had expected but this new and imaginative production really changed my mind and it pulled into a performance that just kept on giving. A good production is memorable for all the above reasons, this production is outstanding and there was not a single cast member who was not integral to the success of the performance.

This is a sung through musical and the power and volume of music is there right from the overture at curtain up and for this credit has to go the musicians, Felix Strickland, Ryan Webber, Gordon Davidson, Laura Llewellyn Jones, Gavin Tate-Lovery, David Csizmadia and Vanessa Domonique.

An experience which will stay with me for a very long time.

Review The First XXXmas by Rhys Payne

 out of 5 stars (5 / 5)

The First XXXmas is a brand new production from the creative team behind XXXmas Carol and the Lion, the B*tch and the Wardrobe (which you can read about here) This year they decided to showcase their version of the Nativity. The cast and crew clearly have a passion for showcasing queer and local artists as each show has contained drastic changes to bring the stories into the twenty-first century. For the past three years, I have been lucky enough to experience all of the crude Christmas productions that have taken place in the Wales Millennium Centre! While the majority of the cast has stayed the same throughout, each year has been a unique perspective of some of the most well-known Christmas stories and this year is probably the most well-known story to ever exist! With the Nativity in particular there is always a certain awkwardness when religion and queerness are involved in the same sentence as there has been a documented history between these two groups so to take on the birth of Jesus Christ is a very controversial story to re- imagine.

The show opens with the sober songbird of Splott Polly Amorous welcoming the audience where she is suddenly challenged by an all-knowing being to give birth to the saviour of the world. Those who know the original Nativity story well will know that Mary experienced an immaculate conception where supposedly no sexual activity took place. This led to Polly delivering a camp performance of “Like a Virgin” by Madonna which dipped its foot into the biblical story while keeping the show camp and modern. I thought that it was absolutely incredible that this number contained an actual violin and saxophone solo (performed by the insanely talented Jenna Dyckhoff) on the stage which are not things we see in the spotlight too often. One of my favourite performances of the evening occurred in the opening of the second act of this show as Polly Amorous delivered an incredible rendition of Robbie Williams’ hit “Angels.” Not only did this song tease a Christmas motif with the titular biblical characters but the vocals themselves were out of this world! This performance truly stepped up a level when Polly continued her wonderful vocals but this time in the Welsh language and then provided lyrics so that everyone could sing along. As a proud Welshman, seeing the language literally take centre stage is amazing and I wish that more productions implemented more of this dedication to promoting the language. As well as delivering two fantastic performances, Polly also had to drive the story which included ample audience participation which is something that fills me with fear just thinking about it never mind having to facilitate it after doing everything else!

Eric McGill is one of the performers who has been a part of all three of these queer reimaginings and yet he still seems to surprise the audience every time he graces the stage. His first performance of the evening saw him take on the role of Mary/Polly’s husband Joseph but in this performance, he was portrayed as a sexy carpenter. The act began with Eric essentially strutting through the audience while carrying a massive log and giving sensuality with every step. Once on the stage, the audience was treated to a brilliant strip tease that was met with thunderous applause! The joke of this performance however was it was alluded to that Joseph is not being as faithful as everyone thinks as the recognisable Grindr notification begins blasting from his pocket. Throughout the evening Eric showcased his wince-inducing ability to force a nail and screwdriver up his noise which sent shivers around my body every time this happened. However, during the second act, Eric decided to channel a much more intense and political underpinning. Now playing the role of the dastardly King Harold, Eric began his act in a bathtub as he began covering himself in blood to represent blood being in the hands of political leaders/the loss of innocent lives caused political leaders that still happens even today. On top of his usual mesmerising aerial talents, the added layer of meaning made for a unique yet transfixing performance. I also thoroughly enjoyed the performance of “Supernova” originally sung by Kylie Minogue as it was absolutely spectacular! While Eric showcased his gravity-defying tricks, Polly and Jenna showcased their vocal talents. At one point glitter was poured from the trapeze that rained onto both the performances and the audience below. I did not know where to look as something was going on in every section of the stage which all worked together to create an extremely exciting performance!

I have to admit that I think Bumni Odumosu drew the short straw in this production as she was forced into multiple animal outfits for her performance. The first time was as a donkey which helps Mary get to Bethlehem whereas the second one was a sheep. This second outfit was absolutely hilarious as two audience members were brought onto the stage to be Shepard’s are guarding the sheep only for her to fly into the air and display her incredible aerial skills. This left the two audience members lost for words as how were they supposed to protect someone who was dangling from the air which caused fits of laughter from the audience. One of the most powerful performances of the evening came from Rahim El Habachi who is usually known for his fun and energetic belly dancing (which he did still managed to showcase) however this time he decided to go down a much more political route. Underscored by the track “Let the Bodies Hit the Floor” by the Drowning Pool, Rahim delivered an incredible message about our current treatment of refugees and how Jesus himself was in fact a refugee. This background music combined with the powerful message made for an incredible act that shocked the audience into utter silence so much so that people felt unsure whether to applaud at the end due to the intense message.

Overall, the First XXXmas had the potential to become an attack on religion but instead carefully played with the story to create a politically powerful and entertaining production. The variety of acts ensured that the audience never knew what to expect next with Polly Amorous showing everyone that she is in fact the hostess with the mostest! I would rate this production 5 out of 5 stars!

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.