Well, back here we go, on the groupie train. Solo performer, Christian Dart, one part of the trio that is Bad Clowns Comedy, is back at the Fringe again, with his second solo show. And at this point, we’re all going to have to queue for autographs.
Unlike his first solo performance, which focused on the real Dart, this time around he has returned to his roots of character acting, bringing us a film noir in only a way he can. A New York detective has one final case to solve, but is he able to? Drawing on the stereotyped film noir characters, throwing in various comedic styles and involving the audience to develop the outcome, we are thrown into a energetic, sweaty and belly-laughable hour of a production.
While the theme may suggest an obvious story-line, we are none the wiser of where this will go. Partly driven by us the audience, whether intentional or just a lucky case of improvisation and partly well scripted, this whodunnit continues to deliver the guessing game and conclusion that no one sees coming. Dart at no point is safe, with a rambunctious audience hell bent on making this as chaotic and as mad as possible, which, let’s be honest, he almost asks for in his narrative and delivery being just as equally insane. But, as the true comedic performer he is, he rolls with the punches and uses it to create humorous moments that could not have been predicted.
Dart continually breaks the fourth wall, pointing fun at himself and the situation we are in – a hot room at fringe, a hat that has to be split to be able to fit, a moment an audience member almost shuts down the power to the building with a water gun, and his talent with this only builds and builds on the foundations of side splitting he has already created.
Christian Dart: Gumshoe! is one hour of clever madness, leaving your stomach muscles and cheeks sore from laughter and knowing that he is likely the next big thing.
Stories of migration, of rich religious heritage, unique and interesting family, and all quintessentially Irish, Michelle Burke brings forward her vibrant family story, accompanied by original folk tales.
Based in a humble suitcase, Burke introduces us slowly but with great detail to her interesting family, some funny, some despairing, with the use of prompts that all come from this luggage. Personal baggage (if you will) but welcomed baggage that varies in uniqueness of her tales. Throughout the production, an underscore of music plays by pianist and composer James Ross, adding to this folky, mystical, deep historical past we associate with Ireland. Each tale is accompanied by an original song, playing on this aesthetic but sung with feeling and immense talent.
Jokes, references and phrasing, specific to Ireland are used throughout, which, could lose some but clearly resonates with others. A moment of singing the national anthem and the invitation to join if known provides a beautiful moment of unity in the audience and, as a non-Irish person, you can’t help but smile at this profound pride. It’s a unique tale, all building to who Burke is today. Burke herself is likeable and personable and holds our attention during her storytelling.
While all interesting and engaging, it felt slightly disjointed, with the stories feeling a little out of place and lacking a connection. The ending seemed to be a reflection on getting older, but this still felt as if a proper ending was missing, a moral of the story, something to draw it all together.
Mind How You Go is heartfelt and enjoyable, with its folktale essence and original music but needs something to draw it together for that clear conclusion.
“Enjoy the film!” – our first encounter with our Cinemadrome employee, Cabbage the Clown, with their simple nod to traditional clown jumpsuit and cute but tragic blue make up. Is it a show or are we just about to embark on a blockbuster?
Cabbage the Clown: Cinemadrome is a one person performance, dipping into commentary on queer culture, consumerism and the plight of an artist. Cabbage ping pongs through ideas throughout – there’s silly, basic comedy and slapstick, interaction with the audience and general “clowning around”. It provides silly humour from deep down, until we all begin to get real deep with Cabbage.
Using multimedia, the performance in interrupted by power point presentations with questionable graphics, clips from classic movies, triggering interpretive dance or skits including the degradation of a slurpy cup. The ideas and concepts are endless and jump into one another. Until we crescendo, from a failed relationship and notes of a struggling artist, Cabbage evokes Bouffon practices as they somehow rise dressed and moving (?) like popping popcorn, screaming through the soundscape. The 45 minutes of irreverent humour suddenly crashes into sadness and a stark reality of loneliness, the search for love and search for a purpose. But we couldn’t leave it there, a happy ending, quickly flipping through a new love story with an audience member, of quick change costumes and prompts leaves us happy, content but knowing this is only a dream.
My favourite part is the use of puppetry; created out of rubbish, Cabbage moves this creature seamlessly and creatively, almost lifelike. The creature is cute and lovable until he spouts his dark words of insults which only becomes draw-dropping. It’s clever in creativity and execution.
However, a good majority of the time stays at a similar level of slow, awkward down-time and at times, we lose the energy. When it’s good, it’s great but sometimes these dips become overwhelming in pause.
Cabbage the Clown: Cinemadrome evokes everything needed from this type of art; humour, a message and creativity. It just needed to keep the momentum going in those moments where energy dips.
Who doesn’t love a bit of naughtiness, comedy, and glamour! Luckily, All Stars Burlesque (one of many shows at the fringe from Scotland International Burlesque Festival) has this in spades, promising and delivering to the letter.
There’s nothing dramatically different in structure to a traditional cabaret show but my only qualm would be calling it a Burlesque show – this was for sure more than that, with a mixture of acts outside the realm of just burlesque.
First – an apologies! I wish I had taken down the acts names but rest assured, if you go, their performances are unforgettable. Our compere for the evening, a traditional show-girl-esque Queen, who is all things glamorous, yet rude and crude (everything we love in cabaret) and is certainly not afraid of us (though we may be of her!). I fell victim early on, with her addressing me as “interesting looking” and with an essence of “questionable life choices”… the less said the better! But she continued to be fun and full of cheekiness with us all.
The acts were primarily burlesque, but ranging from the more traditional showgirl, with beautiful feather boas and rhinestones up to the eyeballs, to the more bizarre. You were unable to take your eyes off them, with their ability to lure you in and make you cheer and clap for more. Some, chose more avant garde approaches; a fairy with an essence of a Midsummer Night’s Dream with her naughty unicorn and a look of Gillian Anderson about her, to a femme fatal vampire who manages to swallow a huge balloon which never reappears… I cannot say how much this has kept me up at night with bewilderment. Our third of the more unconventional performers, a classically trained singer, makes the walls vibrate with her take on No Doubt’s “Spiderweb”, ending this with playing a saw… you hear that right, she makes music with a saw. Now tell me, where else have you seen that before!
We are also brought an important message, disguised at first by fun and brought by a quaint Parisian performer. Dressed as a giant sweet treat, the performer is cutesy but reaches a point of fierce acrobatics and movement on stage; a woman not to mess with, revealing at the end a sign to end stigma of eating disorders. We are pulled into her soft demeanour to leaving with a lasting impression and commentary on today’s society.
Finally, we finish with a treat. Our vampire maiden comes back, with her partner, promoted to us as vampires we wish to let in, as they perform the super speed trait of vampires and make a magic trick, simple but unbelievable, take place on stage… But the treat? We became part of a proposal between these two un-dead beings, bringing a crescendo unlike any other to this cabaret show.
All Stars Burlesque is just that – All Star! With tradition, awe generating spectacles, silliness and glamour, it’s not only a great way to be introduced to burlesque but a brilliant and fun night out.
In the heart of Leicester Square Theatre, the cast of Hamlet join forces for a night to remember. Filled with dark humour, spontaneity & creative formula, chaos is only ever around the corner from start to end. The rules explained from the start by the narrator are simple – tools and a bucket to be used by a member of the audience to help the performer either get more tipsy or in case of the alcohol finishing up too soon.
The layout features trained actors, a narrator, & Lysander who gets to drink his way through A Midsummers Night’s Dream; sailing through ‘Sh!tfaced’. Lysander whilst drunk causes plenty of commotion due to being in scenes that weren’t his to get involved in, his character remains animated and predictably amusing, due to being gun-loaded with puns (fully intended) and quirky improvisations.
The uniqueness of this show is that every night will be completely different, as each night a different actor is drunk, giving off a different flavour. The second part of the show is defiantly more livelier, as the drunk appears quietly mellow whilst soberish, making his jokes at moments cliché and more punchy than hilarious. The atmosphere could create a more energetic crowd fixed on an engaging audience participation.
Charm & chaotic excitement become one in this show. With a fusion of playful pantomime, and the feel of a pub crawl – bringing the essence of British humour combined.
You can find out more about the production and book tickets here
We have missed the steady stream of thoughtful, original productions from Theatr Clwyd while it has undergone a major refit and renovation over the past four years. Whether it is an in-house production where all the costumes and scenery are made on site or from a visiting company the theatre has a long history of distinctive and entertaining performances. It is therefore a real pleasure to witness the reopening of Wales’s largest producing theatre.
It was in 2010 that a survey revealed that the building was reaching the end of its working life. Structurally it was becoming unsound and increasingly expensive to maintain. In 2016, a water pipe bursts flooding the dressing rooms. In 2017, snow fell through the top floor ceiling. The catering facilities needed upgrading, the kitchens not suitable to fuel a restaurant and the conveniences needed improvement. People joked about finding a skeleton in the lift it had taken so long to reach the top floor.
After the appointment of Tamara Harvey as Artistic Director and Liam Ford Evans as Executive Director an ambitious project to save the theatre and renovate it was tabled. The plan sought to update and future proof the building and diversify its range of uses. It would have an extension to the front, a new terrace and restaurant on the first floor with stunning views of the Clwydian Hills, a new double height rehearsal room, renovated production spaces for costumes and sets and updated backstage facilities to attract the highest quality talent. The outdoor performance space would be moved to front of the building.
The theatre has built strong links with the community in recent years and the renovation has sought to facilitate that further. There is a new arts and health suite suitable especially for young families with a play area both in and outside the building as well as a well-being landscaped garden. There is a programme of activities to help support people with health conditions through the arts. The theatre has become a Theatre of Sanctuary supporting those seeking refuge or asylum.
There is attention to detail within the renovation. Despite working with an older building, the place seeks to be environmentally aware, being gas free, harvesting rainwater and working towards carbon neutrality. The shape of the main auditorium has not changed, there is not a bad seat in the house anyway and the acoustics are great, but the seating, staging, orchestra pit and wings are all new. There is a safe viewing space for neurodivergent customers and a dedicated youth hub area where young people can rehearse, learn and play.
These plans could not be achieved without the support of the Welsh Government, Flintshire County Council and the Arts Council of Wales. This still left a daunting sum of £5 million to be raised by the theatre itself. It is a testimony to the affection for the theatre felt locally that it has been able to raise 80% of that figure, but you can still purchase a seat for £100 and name it
I came to a realisation tonight – I * think * I might be a groupie. After seeing Bad Clowns Comedy around 3 times along with their solo acts, this throuple, this bromance, continues to get better and better.
Not unlike the Cornetto series, these loveable rogues are friendly faces that you become accustomed to seeing, but each time, in a different and hilarious guise. While we are used to Sam, Christian and John, when they welcome us as one of them, josh with us and include us in the unscripted moments of fun, they still bring a new, fun and fresh approach to comedy, with new characters that still have that essence of them underneath.
On their final show of this year’s fringe, a packed house was full of an electric excitement, with genuine fans in the seats. This interactive performance invited the unexpected, with heckles and involvement that could have easily stumped a performer – not these lads. They took it, they ran with it and built on the naughty and the nuanced.
There is genuinely no point where you know what will happen next. Long Live the King! in a way, is what it says – it’s an age old tale of the line of succession but in true Bad Clowns style, with many a twist. However, the twists and turns, peppered with traditional slapstick (almost to the detriment of the Gilded Balloon Patter House’s ceiling), at times lewd and obvious jokes and (my favourite) a good ol corpsing moment when they try to fumble one another, it’s nothing short of surprising and genius. And again, in true Bad Clowns style, the ending is our choice – who will we want to be king? It’s all up for grabs and this trio are skilled enough to pivot off the potential change and the occasional heckle and surprise from us.
Bad Clowns: Long Live the King! is a laugh a minute, high energy feat in the comedy circuit. This group has only one way to go and that’s even further up!
The Last Laugh is much more than exceptionally talented performers doing impressions of three comedy greats of the past. The portrayals here are incredibly touching and eerily true to life in the tiniest expressions and mannerisms. Penned by Paul Hendy, this is a production that reaches beyond the public personas of these three giants of British comedy to reveal the personalities, the insecurities and the battles of the men beneath. It’s definitely a rib tickler of a production but it’s much more than that, with moments of poignancy and a final tableau that breaks the audience’s collective hearts.
From the moment Damian Williams appears on stage in vest, pants, duck feet and, of course, Cooper’s infamous fez, we are drawn to this infectious, honest, compelling performance. The voice, mannerisms, the easy way with the audience are all spot on; the ‘just like that,’ the laugh, the endless abuse of Bob Monkhouse, is all eerily accurate of the late comedian. His quieter moments counterbalance this perfectly, his blank stares into the mirror, the glance out to the audience as he picks up his props, alone. The final, heartbreaking scenes are delivered with absolute poise and the silence from the audience, where there once was laughter, is palpable.
Simon Cartwright’s portrayal of Bob Monkhouse truly captures the essence of the famous comedian and presenter whom many of us will remember from shows like Opportunity Knocks or Family Fortunes. The voice is spot on; it sounds like Bob is really on stage, once again the mannerisms and stage presence of this comedy great is exceptionally accurate. I was really struck with Simon’s way of dealing with Bob’s difficulties; a comedy partner who committed suicide, a disabled child, a difficult marriage. Although his character is quieter and more reserved than his co-stars he still stands shoulder to shoulder with them, which is impressive.
From the moment Bob Golding enters as Eric Morecambe, it’s as if the late comedian has bounded back to life on the Millennium Centre stage; Bob bounces across the stage with all the exuberance that Eric was so famous for. As with the other performers, it’s eerie. The voice, the mannerisms, the way of simply ‘being’ with the other comedians speaks of years of admiration of Eric and honing his craft to create him on stage. Sheer joy is counterbalanced perfectly with his quieter discussions about Ernie being like his ‘comedy brother’ and the family he never sees to pursue his comedy dreams in his duo.
So yes, this is a ‘laugh a minute’ as other critics have said, but what truly gives it its staying power is ultimately the portrayal of the human beings behind these facades. It was interesting to hear that the play had gone to New York and, although the theatre goers there didn’t really know the comedians being portrayed, it was the familiar ‘lived in’ experience of simply being human that still made the production resonate with the stateside attendees.
If you love any, or all three of these personalities then this is a must-see. But even if you don’t know their catalogue of work, it’s still an important piece of theatre to attend. It’s a masterclass in storytelling; the last twist of the story, the final flash of the mirror lights and the final call to stage are devastating and brings a tear to the eye where there were, only moments before, a ‘last laugh.’
The BBC Proms are only getting bigger. Yet there are some concerns from this writer. After a few years of trial gigs around the UK, official with the name, it now appears that the whole nation of Wales is not getting anything this year. This puzzles me, as we’ve had events in Cardiff, Newport and beyond. This is a really disappointing blow. What is even more bizarre is the removal of the full Prom schedule getting the numbers removed. This was also so easy when sorting tickets and so on.
In a plunge into the deep end, an all night Prom was an exciting and exhausting endeavour. Not done since the early 80s, this is no small feat and we can thank Anna Lapwood and the efforts of the team, who assembled the whole monster. Breaking into things at 11pm, Anna chose an accessible if somewhat arbitrary set on the grand organ in the hall. Eugène Gigout’s Toccata in B Minor is heavily leaning on JS Bach, though this opener felt like the herald we deserved. Her praise on TikTok has seen a large flowing and this is all fine. Olivia Belli and her Limina luminis evokes the film Interstellar in its sensual minimalism, a vision of an astronaut gazing back at the sight of earth. Choices from Pirates of the Caribbean might be the most typical, though her brief singing and flair in the sea shanties and drinking songs were hard to not enjoy.
From Dark Till Dawn: All Night Prom, Part 1-Anna Lapwood organ
Barokksolistene / Mamelukk, Bjarte Eike violin/director
Pembroke College Chapel Choir, Anna Lapwood conductor
as part of the BBC Proms in the Royal Albert Hall on Friday, 8 Aug. 2025 Photo by Mark Allan
In keeping with this merry vibe, Barokksolistene are a Norwegian folk band who excel in evocations of years past in taverns and pubs. We get a broad scan of Western Europe, naturally Scandinavia, Canada and further afield. Director and on violin, Bjarte Eike is leader of ceremonies, a charming silver fox with cheeky humour and some sour political swipes at the UK, its all rather fun. Whether or not musically it was a little twee or me I’m still on the fence about. Though moments of utter beauty shone and dancing beats would be met with movement and panache. Their encore was a phenomenal harmony that greatly touched, an Acapella joy that found real praise from this hungry audience. It would appear that their party continued even into their dressing room.
Anna Lapwood would not be done just yet (far from it!) as she would return to conduct the Pembroke College Chapel Choir. Whilst this was their first performance at the Proms, it would be Anna’s last venture with them after nine years of collaboration. I was impressed by these young singers, some of which Anna pointed out are not even studying music. There was a sensibility and vim out of them. Kerry Andrews opened with a sweet ‘All things are quite silent’, and Anna’s very own ‘Arise, shine’ were conventional in form and clever it their simplicity. I’ve some reservations about Eric Whitacre and his ‘Sleep’, I’ve never found it to be very potent. His novel ‘Leonardo Dreams of his Flying Machines’ is trite in some ways, breaking down the artists remarkable inventions in flight. The singers wrap up with winds and whistle noise in a tacky mimicry of these contraptions. Bob Dylan and his ‘Make You Feel My Love’, arranged by Lapwood, sent me over the sickly metre.
Well needed rests were spread throughout the 8 hours. Hayato Sumino from Japan gave an intimate piano recital, as there second set began things got much more intimate. Chopin’s Waltz in E flat and Polonaise are very famous and I found them decent fare. Hayato turned to the also present upright piano and played one of his own: Nocturne II: After Dawn. This slight venture was hushed and perfect on the sombre frame of the upright, its appeal lays in the gentleness. A take on Dance Macabre saw him on both pianos, in this busy arrangement by Liszt and H. Sumino. Lots of the music was fitting, the Dance included, skeletons jigging around the night as the cock’s crowing wraps up the party. The take on Boléro by Ravel was cut in half and less effective. Some percussive ticks and elbow slamming added to the drama of the latter few bars, though I doubt it works as well as its start: the grounding statement. Radiohead’s ‘Everything in Its Right Place’ and Like Spinning Plates ending the session and they were passable, on cello Anastasia Kobekina played in the later and this would tease into her own programme that would shortly follow.
From Dark Till Dawn: All Night Prom, Part 2-Hayato Sumino piano
Anastasia Kobekina cello
as part of the BBC Proms in the Royal Albert Hall on Friday, 8 Aug. 2025 Photo by Mark Allan
Anastasia’s time here is most certainly my favourite programme. By the time she was on stage it was coming up to 4am, the plucky audience around me has retired for the night and the intimacy would now reach utter concentration. Cherished Bach Cello suits were the mainstay here and I was loving it. Beginning with ‘O fronds virga’ from Saint Hildegard of Bingen, we met the sacred realm, then to stately Bach and Jonny Greenwood’s Postcard. The latter was written in lockdown and is so slight and under character, it is fifty seconds of cluttering string contact of little note. Vladimir Kobekin and his Narrenschiff (Ship of Fools) was the most theatrical and alarming. Dark and filled with mystery it stood out for its utter invention. I believe I recall Pēteris Vasks and his Grāmata čellam (The Book) – Pianissimo causing a stir in a concert in Cardiff with another cellist years ago. Most likely due to the actual vocalise of the player as well as cello playing simultaneously. Beautiful in its creation, unfettered by compilation it is a brief moment that glimmered. More Bach suites for the pot aligned with Boccherini’s Fandango, with foot stomping and cries aloud. Fabulous musicianship.
After this I began to falter, it had been at least five hours. String group 12 Ensemble were next and they kept some of the programme from their concert at Wigmore Hall the other week. I think the audience struggled with the demands of ‘Many Fruited Dog Tooth’ from Isabella Gellis. Having its world premiere at Wigmore (and this night its Proms debut) this oddly moss inspired near fifteen minutes was a slog, its chirpy and hushed tones would not aid this sleep deprived audience. Edmund Finnis in the Hymn, after William Byrd was effective and stimulating. Oliver Leith’s ‘Full like drips’ from Honey Siren and Oliver Coates’ One Without’ from the film Aftersun were the alluring pieces to win us over in their sincerity. I was not expecting to hear Olivier Messiaen on this night and his ‘Prière du Christ montant vers son Père from L’ascension wrapped up their time with subtle intensity.
From Dark Till Dawn: All Night Prom, Part 3: 12 Ensemble, Seckou Keita kora/voice with Mohamed Gueye percussion, Sleeping At Last with 12 Ensemble, Pembroke College Chapel Choir, Anna Lapwood as part of the BBC Proms in the Royal Albert Hall on Friday, 8 Aug. 2025 Photo by Mark Allan
My face was falling off after this, I had crashed and the ample caffeine intake was intense. A man who had travelled from Chicago remarked how “crazy” it was I was drinking coffee so late. No doubt, coffee sales on the night were a success too. A touch of diversity with Seckou Keita from Senegal would continue as the penultimate act. On kora, he plays the harp sounding instrument with a fluid melodic ambience. It’s pleasant, yet I wouldn’t say I was nourished by it. The singing is charming, as well feel the heat and the whimsy of his homeland. On percussion Mohamed Gueye added textures to the fray though was not heard enough, his time brief yet energised. 12 Ensemble would pop back for a finale flourish in ‘Future Strings’ to delight his send off.
It would be fitting that this colossal concert would wrap up with an artist called Sleeping At Last. Hailing from Chicago, Ryan O’Neal got to the piano and most of the musicians from the night joined him to the climatic end. These are songs which are noble and insightful, yet they lacked any real punch. His vocals impress in typical soul and pop fashion and the songs written about the twelve personality types is inspired. Simple songs names such as ‘Nine’, ‘North’, ‘Touch’ and ‘Sight’ are a choice and one which seems to fit. This could have easily been Sam Smith or other pop stars I’ve lost the names of at present. Somewhat anticlimactic, the audience had given standing ovations for some of the acts, yet here appeared simply too tired to do one last time.
Extensibly, a concert that will go down in history, though the idea won’t see the light of day for quite some time.
What is rare for me is a return to the past, of the television kind anyway. Those who know me are aware of my rewatch of Twin Peaks, after David Lynch’s passing. That is the true exception.
Through rough, AI looking videos on YouTube I had the seismic shock of nostalgic flight. From this, I can proudly say I do remember The Odyssey and it is easily one of the finer shows made for kids television, so much so that adults can easily find a way in as well.
It would have been either Nickelodeon or Channel 4 that I watched it. What I do remember most are the opening credits and the impactful, defining moment of the story. Yet, have I engaged in the Mandela Effect…I am sure the show was called Coma? This leads into the story…
Made in Canada from CBC Television, the success of the series had to an impressive three seasons, though not all plot threads were wrapped up as expected. Created by Paul Vitols and Warren Easton, I do wonder if there was any inspiration from Twin Peaks, The Odyssey would have just been aired as the cult show was losing its main allure.
The premise is layered, especially for its main audience. Jay, an 11-year old boy is keen to join a local tree-fort club, the lead of which is Keith. Jay brings his late father’s precious telescope as an offering into the club. Things get murky with bullying, Donna, Jay’s disabled friend tries to keep things cool. In a desperate attempt to leave, Jay uses ropes to slide down to the ground. This gives way and he falls in epic fashion only then to have a might thump on a stone. For most of the next two seasons, Jay is in a coma, yet another realm is revealed as he appears to create stories in his head about The Tower and its surroundings. No adults live in this land and children appropriate numerous adult jobs and cultures. The show is fantasy, yet is still rooted in reality, as the event mirror in both worlds. The show never had the intent to speak down to children and this is one of its best assets.
I’m now aware I cannot speak of the show with out a dreadful sense of tragedy. Both male and female leads have passed both extremely young, Illya Woloshyn in 2023 and Ashley Rogers back in 2007. Their deaths have led to some unsavoury fake news about what caused this and I must write with care here. Watching them grow up so fast over there three seasons is touching, but it was still a hard watch. Woloshyn had promise growing up into the dashing main character, yet at times his acting didn’t quite gel with the script. Other times he seems to really get it, his obsession with his apparently dead father (I won’t spoil too much here) and general teenage angst are absorbing. Im amazed just how much a show from the early 90s sucked me in like this.
I don’t recall watching till the end back in the day, but what we do get at the finale is a fine wrap up that could have expanded on the dynamic between children becoming grownups and adults respecting this. Many 90s tropes are here: the music…good lord the fashion! Though dated in may respects, the story still holds. A remake, which has apparently been in the discussions would not rival this rawness and clever sense of theatre. Ashley Rogers as both Donna and Alpha, was such a great young actress, who found praise also in the film Now and Then. Her sensibleness grounds Jay in both roles and her bookish persona is very charming. The trio is completed by Tony Sampson, best known later as Eddy in Ed, Eddy, n Eddy (fans of the show will know I’ve spelt this right), the bully who becomes friends with Jay. As the third season goes on Sampson changes with clear weight loss and the gruff traits of the role are still their. His fashion choices might just be the most “radical”.
What must be of note is the fact that a young Ryan Reynolds is in the fold, playing Macro and Lee. Dressed up like a fascist, even in this early role you can see he’s having fun, no doubt all the cast must have found this eventful. Macro is the make shift right hand man to Brad (again won’t spoil here) and no doubt had acting lessons from an early age. Even his line “My poochy needs me…” could easily be from Deadpool. Andrea Nemeth as Medea and singer Sierra Jones, is fine casting, an actress who didn’t go on to do much else, yet really shines here. Her on-again-off-again pairing with Finger and Mic from a rebellious Mark Hildreath is also funny for its frustrated puppy love murmurings. Finger’s later doomsday plot is also absorbing.
Also surprising that a compassionate Janet Hodgkinson as Jay’s mum, Val didn’t do a huge amount of work either. In season three she is not seen for a few episodes, yet her vast efforts are to make sure her son comes out of his coma. There appears to be some rather dated methods of aiding someone in that condition: do we really think a bag of ice and loud noises could wake someone from a coma? It almost reeks of cult, the care facility Jay is sent to.
How does Jay know of this other realm when he is awake? Will he find his father in either place? Many questions arise. Broad themes are tackled and the troubles of being a young person are never belittled. I just adore this show for such a gentle and fine handling of the children. This is easily watched on YouTube, those who binge might be a little shocked with the darker edge of the third season, arguably the best.
A treat down memory lane, well worth the trip.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(5 / 5)
(3 / 5)
(4 / 5)
