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Review Sapphic Soirée, Del Fflur Productions, CABARET, Wales Millennium Centre by Megan Pritchard

Sapphic Soirée artwork with photo of Lili Del Fflur by Tallulah Tog

There aren’t many shows where you smile all the way through, but that’s often the effect a Cabaret show has on me, so I was del-ighed to see Del Fflur Productions Sapphic Soirée. A sexy, silly and serious programme that had the audience whooping from the get go and on their feet dancing at the end.

The Sapphic Soirée was Del Fflur productions first time presenting as a solo venture on the CABARET stage at the Wales Millennium Centre, though burlesque fans in South Wales will know the name Lili Del Fflur well – as she’s been on the scene performing for a decade, and has been producing shows since 2023.

This show featured performers from across the Sapphic community in South Wales (women and non-binary folk who are attracted to women) and the cast’s talents were beautifully diverse featuring burlesque, song, live music and poetry.

If you’ve not been to a Cabaret show at the Wales Millennium Centre before, they are good fun – the venue is laid back, accessible and the seats are comfortable. You can drink and snack throughout and there’s something different a few times a week. Typically for Burlesque shows like this one, each act is broken up by some chat and comedy from a host. I often describe it as ‘tiktok’ for live audiences – if you don’t vibe with one act, there’s another one a few minutes later to wow you in a different way. It’s a great place to leave your worries at the door and have a good positive yell and cheer.

The cast of Sapphic Soirée, photo by audience member

For this event the host was Lili Del Fflur herself, who introduced each act with warmth and pride – this local grass-roots cast was hand-curated by Lili and it was clear she was proud to platform each one. That sense of warmth was immediately shared by the audience as Lili opened by ensuring everyone felt welcomed – noting with a winning smile that we would share in ‘Community, Creativity and the joy of seeing ourselves reflected on stage’.

Between the acts Lili would come back onto stage to introduce the next one, telling us about each performer and interacting with the crowd. At one point she hosted a glove-peel competition for two audience members who, though strangers, made friends immediately. That camaraderie was felt across the room throughout the night. Later Del Fflur briefly teared up as she implored the enthusiastic audience to use their votes wisely for our loved ones at the Senydd election next week – a sentiment met with cheers and applause – this was an audience that reflected the community they were a part of. 

The acts were well curated, balancing artforms and platforming new performers alongside professionals – both showcasing and growing the Cabaret scene.

The show opened with the non-binary finery Lana Del Red, known in Cardiff for their sexy routines and incredibly high heels – Lana didn’t disappoint with a red and pink themed number full of intense eye-contact, snake-like undulations and tiny undergarments. This routine cast a spell on the audience and was a great opener. For the rest of the night Lana also acted as stage manager for the show, setting up props and cleaning the stage after acts and keeping an eye on the performers needs – a hard worker indeed.

Next up was singer Little Lau who quickly had the audience singing along to some songs by WLW icons. Lau is a wonderful performer who accompanies herself on guitar. In the second half Laur returned to perform a passionate and personal poem about growing up as a Lesbian in the 90’s and the strength she found from her trans sisters – who we need to support now more than ever. This is a moment that the audience won’t forget and was met with a standing ovation.

Little Lau photo by Evita Pics

Across the evening we were treated to two performances by proudly plus sized performer The Dumb Belle who ‘never knowingly takes herself seriously’. Her ‘Heated Rivalry’ inspired hockey act was wacky and creative – ending with impressive rainbow hockey pads which I wanted to take home. In the second half she proved that any body can be a beach body with a fun summery routine complete with giant inflatable beach ball and audience participation. The Dumb Belle is a fun, flexible and expressive performer with a confidence and stage presence that easily guides story.

It’s hard to believe that singer Rosy Derrière made her stage debut last night – treating us to retro rockabilly versions of modern songs which were charming and fun. Dressed in impeccable pin-up attire, Rosy was accompanied by four adorable backing dancers (‘the Dels’ – a local troupe of dancers taught by Lili Del Fflur) as she crooned though ‘I Kissed A Girl’ as the audience bopped along. Only after she exited the stage did Lili tell us that it was Rosy’s first time singing on stage – a testament to the grass-roots platforming of new performers, and tutoring by Del Fflur.


Rosy returned later, joined by Lili herself dancing in a cheeky backless skirt as Derrière sang ‘All About That Bass’  – a glamorous and slick feeling act where the two worked beautifully together. A brilliant first outing for Rosy Derrière who I’m sure we’ll see more of soon.

Goldie Luxe photo by Evita Pics

Next, blonde bombshell Goldie Luxe treated us to a sexy and classical feeling red showgirl version of ‘I wanna make love to you’ in which she dances, strips and plays live saxophone. Not one to rest on a single talent, Goldie’s second act of the night was a stunningly expensive looking Cinderella act which includes live song, acting and real whip cracking. Goldie’s acts are always impeccably choreographed, smooth and tongue-in-cheek – encompassing the multi-talented glamour and ‘gimmick’ that makes burlesque so special.

Lili Del Fflur herself performed twice throughout the show – once with singer Ruby Derrière as mentioned above, radiant in purple and once with a high-energy driving and dynamic number to ‘What’s Wrong With  Being Confident?’ dressed in black and white striped prisoner costume. Lili’s professionalism and dance skills shine throughout – always alluring, expressive and light on her feet, you can tell Lili loves performing and it’s a joy to watch.

Lili Del Fflur hosting photo by Evita Pics

The show finished with Lili’s troupe ‘The Del’s’ who she trains in the South Wales Valleys. In ethereal white costumes and waving silk fans the Dels dance triumphantly to the song ‘Freedom’ – bringing the night to a close on a positive and uplifting note that was echoed by the warmth of the audience.
This was the sort of event where the performers and those watching them have a genuine exchange of energy that carries out into the night.

Whilst I often visit CABARET (WMC) to experience high-end performers from outside Cardiff alongside Welsh acts, it was nice to see an evening of local talent supported by professional sound and lighting so rarely available in other spaces across the city.

Cabaret and Burlesque is a growing genre in South Wales, and I highly recommend anyone try it – there are a handful of grassroots shows and professional companies in Cardiff and South Wales.

To see more of Del Fflur Productions visit here

Or to see other Cabaret shows by other producers at the Wales Millennium Centre visit here

Or to see all Cabaret and Burlesque shows are in the area visit here



Review: Operation Mincemeat, Storyhouse, Chester by Richard Evans

Avalon production company in association with SpitLip

Storyhouse, Chester, May 4-9, 2026

 out of 5 stars (5 / 5)

What a story!  The real life events of Operation Mincemeat are nothing short of remarkable, a MI5 plan in 1943 to divert Nazi forces from Sicily to Sardinia to enable an Allied invasion of Sicily to take place with little opposition.  90,000 soldiers were moved on the strength of phoney intelligence found in a briefcase of a downed RAF pilot who was ‘planted’ off the coast of Spain.  However, would this translate to the stage, especially in the form of a musical?  On the strength of the standing ovation, it certainly does.  

The musical follows the events of Operation Mincemeat closely, MI5 agents vie for proposing a plan to fool the Nazi defences, an outlandish plan is accepted and then enacted.  A local coroner alerted MI5 to a homeless man who had recently passed away whose body could be used to construct a false identity.  A considerable backstory was invented for this phantom pilot including love letters and realistic documentation.  The body is let go from a submarine in the Mediterranean and when it is washed up onshore, an autopsy is carried out and arrangements were made for the briefcase to fall into the hands of the Nazis.   

The cast of five all take multiple roles in a fast moving production and work together excellently as a team.  It was hard to pick out a stand out performer but Christian Andrews excelled as Hester Leggatt and others, a soft spoken more elderly secretary.  Georgina Hagen as Ewen Montagu was brash and bullish, full of pluck.  Sean Carey was a wonderfully bumbling Charles Cholmondeley who came up with the outrageous plan yet was too shy to promote it.  Jamie-Rose Monk was forthright as Johnny Bevan, the overseer of the project and Katy Ellis was assured as the put upon Jean Leslie, a talented spy but who was often overlooked because she was a woman. 

The set was very clever, illustrating an operations room for the most part but then by the use of strategic lighting transformed at one point into a plane.  The choreography was slick and helped hold your attention and while the band was a small four piece unit, gave the feel of a wartime vibe.  

There were issues raised by the production.  The identity of the phoney pilot at times was dismissed as unimportant, a homeless man is a nobody apparently.  However, measures were taken to find his identity and make sure that there was no surviving family who may be looking for him.  Eventually his identity was recognised and the Commonwealth War Graves Commission added his name to go with the false identity of the pilot on the memorial in Spain.  Montagu at one point was suspected of being a Soviet spy, passing documents to his brother who was a communist.  This turned out to be a screenplay, but the prospect kept the plot boiling with intrigue.

It is hard to do justice in describing this musical.  Despite being a complex story, it works wonderfully well and became a dazzling production, picking up on public school attitudes amongst the officers and communicating the story really well.  It deserves to become a must see production for anyone with an interest in theatre, musicals or the history of world war 2.  

Review Under Milk Wood, Theatr Clwyd, Sherman Theatre by Bethan England

 out of 5 stars (4 / 5)

‘To begin at the beginning’ is a very apt quote from Under Milk Wood, for this groundbreaking first production from the Craidd Collaboration. A cohort of organisations; Pontio, Royal Welsh College of Music and Drama, Sherman Theatre, Theatr Clwyd and Torch Theatre, coming together with the aim of putting ‘access and inclusion at the core of theatre in Wales.’

Without a doubt, this is easily one of the most accessible and inclusive pieces of theatre I have ever witnessed, which is proven by the vast variety of the audience members around me as I take my seat. The play has been reinterpreted anew, with almost every line interpreted into BSL and every line appearing on the screen behind the performers. But it is not in any way stilted or apparent that you are watching an ‘inclusive’ piece, so well is the inclusion interwoven into the production. The opening sequence of words and BSL is so beautiful and moving. The words appearing on the screen are not just standard type, they live and move as much as the words do; enlarged text when there is emphasis or shouting, sometimes to very comedic effect, words twinkling and disappearing, words weaving across the screen as magical and thought provoking as the way they are delivered verbally. Huge credit must be given to everyone involved in this especially BSL director, Adam Bassett, but also the whole production team who breathed life into this truly stunning piece of diverse and representative piece of theatre.

The strange, colourful, delightfully naughty insight into Thomas’ imagination is brought to life by an incredibly talented ensemble of actors both able bodied and disabled. They all multi role with deftness and speed, at the drop of a hat (quite literally in some cases!), a definite Brechtian feel to the piece as their different characters appear and disappear with the change of a costume, sometimes even mid scene. It would be unfair of me to call any one of them out individually, as they all bring something truly unique to the piece, as unique as the individuals who tumbled from Dylan Thomas’ mind into Llareggub.

The set design is truly beautiful and captures the very essence of the town, houses tumbling together in the rag tag manner of the terraced houses of the Welsh Valleys. So important are the houses to their inhabitants, so much a part of who they are, that they form seats, steps, tables, lidded boxes and even appear on the heads of Mog Edwards and Myfanwy Price as they confess their love to one another. The set is immersed in the performance; clambered over, sat upon, danced amongst. I was enamoured with it all and kudos to all involved in this truly dreamlike production; director, Kate Wasserberg, set and costume designer, Hayley Grindle, AD and Dramaturg, Katie Elin-Scott, Movement Director, Laura Meaton and the many other individuals who have brought this truly leaping to life. A special mention must also be made to the Composer, Oliver Vibrans and Musical Director, Lynwen Haf Roberts for the lovely, haunting melodies they have brought to the piece.

What is truly magical about this piece and the penmanship of Thomas is the mirror that it holds up to our own humanity. Especially here, with joyous inclusivity and diversity. We are, like the inhabitants of Llareggub, ‘not wholly bad or good, who live our lives under Milk Wood,’ and it is this that makes the production one that will stay with me for a long time. Its humanity is beautiful in its flaws and the rapturous applause along with the silent, but enthusiastic applause of the deaf members of the audience really shows that this production has something for us all.

Review Under Milk Wood, Theatr Clwyd, Sherman Theatre by Andy Stroud


 out of 5 stars (4 / 5)

First performed in America in 1953, and broadcast posthumously as a radio play by the BBC in 1954, Under Milk Wood has had many adaptations for the stage. This is the first time that accessibility has been integral to the performance and design.

The production is part of Craidd, a collaboration between five Welsh organisations working to improve mainstream representation of Deaf and disabled people both on and off stage across Wales. This staging uses integrated British Sign Language (BSL) and captioning.

This means that accessibility is literally centre stage at many times and fully incorporated into the staging. BSL trained actors are key to the delivery. use is made of video and back projections to magnify some of the action on the stage. Text is not standard surtitles but rather animated and colourful, shifting and dissolving – enhancing the experience for most in the audience.

As a seeing and hearing member of the audience it’s at times difficult to know where to focus the attention. This is a recognition of how compelling the different aspects of the production are – the imaginative captioning text which is difficult to keep your eyes off but also wishing to constantly refocus on the considerable skills of the actors. You get better at that as the play progresses. This type of accessible theatre, built into its design at the outset, can be potentially engaging for all members of the audience.

It’s an excellent ensemble piece (with each actor playing multiple roles), fast-paced and funny, musical and magical with a dizzying array of characters. This is not a conventional play in terms of plot or narrative drive. An omniscient narrator guides us through the lives and loves of the villagers and this along with interconnected vignettes advances the action. Scene settings, of which there are many, are suggested by precise lighting and sound design along with creative props. The pace of constant change makes this demanding stagecraft but it feels effortless.

Hayley Grindle’s set and lighting are stand out. The cottages imagined as oversize doll’s houses, sometimes ordered, other times in disarray, depending on the time of day, often providing a glorious warm glow to proceedings.

Kate Wasserberg has not shied away from the darker, at times uncomfortable, themes in the play, more prevalent in Part 2. ‘There’s a nasty lot lives here when you come to think.’ gets one of the bigger laughs of the evening. A lot more than mischief is hinted at in the lives of the community.

At the end we are full circle, another night is approaching. Something very like this will be happening tomorrow.

This staging captures and amplifies the play for voices – tender and poignant, funny and irreverent, lyrical and bawdy. Theatre Clwyd’s Under Milk Wood is a captivating imagining of Dylan Thomas’ masterpiece.

Andy Stroud

Credits

Creative: Hayley Grindle (Set and Costume Design), Katie Elin-Salt (Associate
Director & Dramaturg), Laura Meaton (Movement Director), Adam Bassett (BSL Director), Joshua Pharo & Sarah Readman (Co-Lighting, Video & Creative Caption Designers, Oliver Vibrans (Composer), Lynwen Haf Roberts (Musical Director), Liam Quinn (Sound Designer), Jacob Sparrow (Casting Director).

Production: Suzy Sommerville (Production Manager), Alec Reece (Stage Manager),

Review: 2:22 A Ghost Story, Venue Cymru, Llandudno, by Richard Evans

Runaway Entertainment, written by Danny Robins, directed by Matthew Dunster & Gabriel Vega Weissman

Venue Cymru, Llandudno, April 27 – May 2 and on tour nationwide

 out of 5 stars (3.5 / 5)

2:22, a ghost story or a debate over whether the supernatural is an actual phenomenon?  The premise behind 2:22 a Ghost Story is rich with potential,  a couple with a new baby move into their intended forever home yet while one partner is away, things start to go bump in the night.  On his return, they invite a good friend and her new boyfriend in for dinner and ask them to investigate the sounds which seem to occur at 2:22 in the morning.  Cue the shrieks, flashing lights and blackout.  

The cast do a great job in telling this story, each character has a well defined persona revealing multiple layers as the play develops.  James Bye plays the arch sceptic, Sam, who seeks a scientific explanation behind every event, natural or supposedly supernatural, Shvorne Marks plays the angst filled mother, Jenny, who has a faith based upbringing making her open to the supernatural. Natialie Casey plays Lauren, the old friend who holds more than a candle to Sam tainted with a sense of frustration as he once laughed at her when she told him about a meaningful, perhaps ghostly experience.  Grant Kilburn plays the new boyfriend Ben who is local, working class and seemingly less sophisticated than the others but who believes in the supernatural.  

The set is simple, an open plan kitchen/dinging room that is in the process of being redecorated after they have ripped out several walls to make it open plan.  Have they upset the lingering memories of families who have lived there before and who now return to haunt them?  We are led to believe this is the case, or perhaps the strange noise emanate from some urban foxes who are hugely vociferous, often in a sudden way.  

As the play develops and time draws near to 2.22, the fear that there is something out there trying to get to them grows.  The suspense is built when windows are opened unexpectedly, a teddy bear is moved into the bathroom and is found soaked in white spirit with no apparent logical explanation.  Sam interjects and tries to dampen down these feelings arguing for a rational, logical explanation for these strange goings on.  His arguments are powerful even though he is opposed by the other three.  

It seems the presuppositions Sam holds are that this world is thoroughly materialistic, there is no supernatural and that the universe is filled with chance events that people unite in their minds to find meaning and purpose.  While this viewpoint seems normative in the scientific community, there are alternatives.  Some believe that there is a supernatural world with some power behind it who uses chance to allow the universe to develop.  But being intelligent, the chances are loaded towards complexity and purpose.  Both options among others remain possible.   

Of course we are not allowed to tell others the dramatic nature of the ending, but therein lies a problem.  The play asks us to consider that when people talk about a person who is not there, their recollection becomes so real to them that they believe that they were actually present rather than a memory.  This stretches credibility.  The play also uses a lot of dialogue to explore the issues surrounding the supernatural, but then throws in some random screams to change scenes and to keep people jumpy.  This became tiresome.  

While there are problems with the storyline this does not alter the fact that this remains a watchable, engrossing performance that holds the attention of the audience and gives them a few things to think about in their ensuing sleepless nights waiting for that bump in the night.

Review Wozzeck: Wretches Like Us, London Philharmonic Orchestra, Royal Festival Hall, London by James Ellis  

Photo credit: Pete Woodhead 

 out of 5 stars (4 / 5)

My last flutter in London would be a third and final night at the Southbank Centre for further Multitudes fare. In what might have been the most fascinating piece out of these events comes great power and also flaw. The London Philharmonic Orchestra have truly had remarkable, crushing moments in Alban Berg’s Wozzeck, an opera not for the faint of heart. This for me, is a first in opera, where the experiments made in the pit and voices meets the dramatic tension of the narrative. Berg was rather clever and his atonal scores remain an alluring mystery. 

I often look back at the Olivier Award winning, Welsh National Opera production from Richard Jones, the first new feat at the Wales Millennium Centre. My intro to the opera has never left me and the horrendous sense of dread and pain in this never leaves you. Conductor Edward Gardener is such a good man, young at heart and firm on the podium. For this remarkable feat, this one off concert would crackle and blast thanks to the vast orchestra. Any one familiar with the play Woyzeck by Georg Búchner, will know the story, Werner Herzog’s film version echoes this. 

This spirit tearing drama is in three tight acts, roughly ninety minutes straight through. Wozzeck the solider is pushed around by all who know him: the Captain, his Doctor, his wife Marie and many others. Treated like muck, he never catches a break, his mind breaks and after discovering Marie has cheated on him with the Drum Major, only bad things could happen. As the title character, Stéphane Degout is dark and a ticking time bomb, the baritone role is bloody hard work for anyone who dares. Annette Dasch as Marie had moments of seduction yet I feel she was over shadowed here (we will come on to the video side of things shortly). Another dense role, Dasch comes and goes in the plot, she shone in the horrendous murder scene in the last act. I shall discuss supporting role shortly. 

My heart sunk when seeing some of the promotional material for the video work for Wozzeck: Wretches Like Us. Ilya Shagalov and co-creator Nina Guseve have taken a gamble and this has not reaped reward. A slideshow of artificially generated imagey was not on my bingo cards to see at the opera this year. It would appear that AI is becoming such a homestay in our culture. I’m worried about this. The lack of creativeness, the environmental issues and more. Most of these slides saw a contemporary take as Wozzeck is doing various key worker roles, as we see council houses and other British culture staples. Photos as film maker Chris Marker might be envisioned or perhaps the raw, grunginess of Richard Billingham. I was left cold by most of it, amazing how so much AI material is made online, you just don’t want to know. Some of the subtitles were not visible at moments due to the frequency of the image change and the colour of the words. 

A large cast got down and dirty in this operatic masterpiece. Peter Hoare is always a great comedic Captain, a role he has done for years. A sour Doctor from a rough and strict Brindley Sherratt is another fine supporting part. Christopher Ventris is the seducing Drum Major, Eriik Grøtvedt as Andres is the worried friend of Wozzeck, singing with a rising determination. Margret played by Kitty Whately was catty and nosey, as the brief neighbour, vocally quite refined and the wittering sprechgesang also wonderful. Adrian Thompson gets a disquieting solo as The Fool, one highlight of many in this mini opera. The London Voices are bar patrons and their ladies too, got on as a harsh and vengeful mob. The Tiffin Boys Choir break our hearts with the final scene, which remains unforgettable. Just no to AI, if you please! 

Mulituides continues till 30th April 2026. 

Review The Art of the Fugue, Circa & Australian Brandenburg Orchestra, Queen Elizabeth Hall, London by James Ellis

Photo credit: Pete Woodhead

 out of 5 stars (3 / 5)

As the Multitudes fest continues at the Southbank, I must confess some displeasure. I vastly recommend the festival produce a brochure like they did last year. A member of staff lamented that forty-five people had expressed this disdain. A theme there! I loathe PDF links to pop on my phone, for reviews the physical form is easier. Even just having a physical ticket is also a thrill. Let’s make this happen.

After the ecstasy of a cinematic Turangalîla-Symphonie the night prior, we’d get an international flight from Circa and the Australian Brandenburg Orchestra. Heralding from Melbourne, both groups have impressed with what their city can offer. Can dance, by way of circus meld with Baroque? Paul Dyer on harpsichord, artistic director would play off and on (some moving minature organ playing would feature also), yet the string players get the distilled meat and veg meal of the work. Bach’s last work remains a mystery. Is the last page missing? How would it have faired in performances in his own day? How could this work with movement?

The artists in Circus impress with feats of physical prowess and endurance. Yet, I did ponder where was the emotional core to the whole thing? Many attempts of acrobatics on top of one another, with resting posting upon the lower persons head and other body parts was tense, truly. You were witness to the strain this had upon the person below bearing the weight of the those above. Many leaps and lunges, as other dancers either capture or let’s those in flight plunge. Some aspects of connection featured, many homoerotic phases came and went, the ladies have stand offs and solos too.

Within these tensions made seeing these players stack themselves up two stories is both alarming and gripping. Yet how many times do we want to see this in a work at an hour and a half in length? Many lucid gatherings saw these dancers swept away en mass as they hardly touched the volcanic ground. Choreography by Yaron Lifschitz, holds many ideas, some work, some don’t. I think it might be recommended a touch more variety come out. Maybe its because I’ve seen seeing the work of Pina Bausch at Sadler’s Wells and the idea of movement is challenged and embraced together. Was my mind elsewhere?

The orchestra are soft, gentle in their playing. No trip ups, yet they feature a subtle ear I’ve heard little of over the years. This might not be Bach’s most clever nor emotional work, I dare say other pieces from the great composer would fare better with Circa (Goldberg Variations, the Passions etc). I do enjoy the collaboration between artists in varying fields, uniting as one. Though this paying off, might pehaps be another other discussion…for another time.

The Art of the Fugue continues till 25th April 2026.

Multitudes continues till 30th April 2026 

Review Turangalîla: Infinite Love, Royal Philharmonic Orchestra & 1927 Studios, Royal Festival Hall, London by James Ellis

Image Credit: Pete Woodhead

 out of 5 stars (4 / 5)

This first trip of the Southbank Center’s Multitudes 2026 festival was for me, familiar fare and a new creation. Recently, I’ve been thinking a lot about film screening with a live orchestra. With Fritz Lang’s Metropolis getting its century next year, I think we really should be seeing more of these.

Leading to this opening concert, the fittingly named 1927 Studios got their collab on with Royal Philharmonic Orchestra for a wonderful take on Olivier Messiaen’s Turangalîla-Symphonie. 1927 Studios are best remembered for their expressionistic Magic Flute, seen in Edinburgh and beyond. Their love of early cinema is second to none and they seen to get away with what they do. Taking Messiaen’s symphony on face value, the Tristan myth is the narrative fabric of their film work. I did wonder if Turangalîla had the capacity to be a camp classic. 1927 Studios prove this!

We are treated to a time capsule, a faithful recreation of cinema gone by. Canadian filmmaker Guy Maddin comes to mind, a rare thing in cinema today to honour the past in such a way. Many of these trappings are cleverly featured on screen. We get all the stagey, awkward acting, character glaring at the camera and old timey intertitles. The frequent orbs, colour fading and screen wipes are fun. The leading actors are always highly effective: a dashing Jake Cecil and a brooding Esme Appleton as the Celtic couple destined to doom. All supporting actors got the memo about how to Jam it up in a odd thing like this and there were several laughs abound. The animation of Paul Barritt and and Francesco Roych never takes itself to seriously with flowers, frolicking and fornication, all relevant to the themes and setting. Their cut-out fairy-sprites design would fittingly suggest Dada and naturally Monty Python all springs to mind as well.

Image Credit: Pete Woodhead

Whilst the film was noteworthy, I must also say how well done the orchestra and soloists were. Conductor Vasily Petrenko always delivers and in this massive, outrageous work, he appears to excel. Sad to see these amazing musicians dimmed on stage, yet the glowed with a radiance this silly piece demands. The percussion is worthy, a battery on the stage. The winds and brass get many alarming, bombastic passages, often thrilling, always incredible. The strings astound with vigour and tenderness, Indian melodies meld with piercing romance. The beauty of Messiaen is his juxtaposition as well as variety of styles. On piano, Steven Osborne got mighty moments, absurd drama in slamming and flutters on these keys. The ondes Martentot, the early electronic instrument made famous by Messiaen (and later the band Radiohead), was here from Cécile Lartigau. This must be a delight to play on ondes, its range vast, its joy unbounded. Lartigau played it with graceful ease, you don’t require a virtuosic scope for the instrument, I’d imagine. But it is always wonderful, I’d say a rare thing, yet we hear it now in concert and films most often.

Multitudes continues at the Southbank Centre till 30th April 2026.

Review Priscilla – Queen of the Desert, Wales Millennium Centre, 20th April 2026 by Bethan England

 out of 5 stars (4 / 5)

If you’re looking for a high energy, even higher kicking, cast ensemble with costumes with more sparkle than the crown jewels, then grab a ride on Priscilla and get down to the Wales Millennium this week…just try not to get lost in the desert on the way!

With more hits than you can shake a stick at, it’s one floor filling classic after another in this non-stop, explosively colourful production. The hugely talented ensemble truly owns every musical number, with costumes to die for, designed by Vicky Gill. The choreography, by Matt Cole, (along with associate choreographer, Thomas Charles), is outstanding; you just don’t know where to look first! The sheer effort and passion from every single member of the chorus is fantastic and really makes the production pop.

The cast also pours their heart and soul into every moment. Bernadette, portrayed by Adele Anderson, is so quick of wit and positively dripping poison in her venomous comebacks. But she also brings a gentler, softer side later in act two, which shows her aching vulnerability too. Kevin Clifton as Tick/Mitzi is joyous to watch, especially during MacArthur Park which was a particular highlight. His Strictly dance skills really came into play as he pirouetted across the stage. Nick Hayes brings huge vocals to the role of Felicia/Adam. His clashes with Bernadette are hilariously catty and he struts across the stage, every inch the drag star. Special mention must also go to the Divas, sashaying across the scenes, resplendent in silver. The vocal performances from Leah Vassell, Bernadette Bangura and Jessie May were out of this world!

Although the show is clearly a spectacle, there’s also a lot of poignancy and heartfelt moments here. Tick’s epic journey across the desert to meet his estranged 9-year-old son, Benji, is delivered very well. The reunion scenes are softer moments in a show that is often incredibly high octane. Difficult subjects are not avoided, and we are reminded of the struggles beneath the sparkles in scenes such as the graffiti on the bus and when a night out on the town almost ends in tragedy. These fit in well with the otherwise buoyant dance and musical numbers.

Feather boas, glitter, sparkle, a bright pink cake left in the rain. For a night of sheer escapism, high class vocals, and dances to die for, make sure you catch Priscilla’s stop in Cardiff before she rolls out of town for good.

Review, John Proctor is the Villain, Royal Court Theatre, By Hannah Goslin

 out of 5 stars (5 / 5)

Please note there may be a slight spoiler in this review.

Harking back to many a youth, we are catapulted into an American school room to be amongst the teens, as they start to face questions around love, sex, misogyny and pop stars. They also have to face school, with all its complexities and a latest assignment, based on The Crucible.

John Proctor is the Villain is a story about a group of young, high school girls, around the time of the Me Too movement, with its impact on them, the local community as well as the trials of growing up, boys, pop culture, feminism, growing bodies and minds and confusing feelings. We see it from their conversations in their literature class with their young male teacher, their after-school feminist club and the moments in between, before and after school where an empty classroom is meant to be a place of sanctuary but doesn’t hold itself as that safe space. As they delve into sex education and The Crucible, their lives unravel, almost mirroring the story-line of the play with woman being the blame, men supported for wrongdoings and gossip running riot, resulting in them really reaching their feminist height, pulling the boys along with them and fighting back.

Remembering my own days of reading and performing The Crucible at school, this already evoked memories of discussing the play and its impression upon me as a young wannabe-actor. However, even these nearly 20 years later, I found myself newly informed and immersed in the discussions, factoring that John Proctor was pictured a hero and the women still as the villains. A story about the dangerous spread of gossip and rumour, we still side with his stoicism and rarely comment on the play being written by a male and the male view on the female characters. I found myself already with a renewed outlook, feeling like I was one of the girls discussing this and all the interpretations. Oh my horror when I remember how I was cast as Proctor way back when…

There’s a real sense of relatability as a female – while set in America, teenage girls are teenage girls, and all the performers (Lauren Ajufo, Holly Howden Gilchrist, Clare Hughes, Miya James and Sadie Soverall) evoke that youthful-ness, excited-ness and awkwardness that we all felt at that age. In a specific time where our minds and bodies are growing, our brains being somewhat working towards adulthood but still children, they brought this to life without it feeling satirical or unnatural. Each with their own personalities, there was no stereotyping here but something still very relatable. The excitement over a boy liking you, the girlish crush on your young teacher, the blow ups of friendships and family… all so normal yet still so dramatic. We want to be part of them, and we gasp and laugh as they do. We want to dance when they dance and we cheer them on when they fight back. Their relationships are so easy and natural and funny – so teenage and so girl-like. I can remember those moments with my own friends back at school.

When things get hard, we feel it. And we remember it from our own time. While the shocking turn of events may not have happened to us in our lives, we maybe heard stories of it in other places with other people, and went through our own serious moments while trying to grow up and be children at the same time. It’s still shocking and the theatrical techniques used to drop these bombshells is impactful. It only heightens the great acting on stage. The lighting, scene changes, spotlights highlighting character’s feelings at the time, all add to enhance this production from the script to the stage.

One can’t go without a mention of Dónal Finn. Like many, I am on the Finn train after his recent appearances in The Other Bennet Sister and Young Sherlock. Already two very different characters in themselves, Finn throws in yet another drastic change of character as Mr Smith. A likeable, excitable character, we can’t help but have a girlish crush ourselves and lean to liking him. So when things are turned upside down, the change from our impression of him is still as shocking. His character doesn’t change necessarily but it is felt under the surface; something running as a current. And his uncomfortable-ness at the crescendo is plastered naturally across his face and enveloped in his tense body language, ready to burst. If you happen to see all 3 of these credits in quick succession, you will see what a real upcoming talented star this man is becoming. One to look out for.

John Proctor is the Villain is a triumph of a production, relatable yet sufficiently dramatic. It questions everything we were ever taught about a fantastic play and forces us to continue to question feminism and the long way we still have to go.