Photo credit: Andrew AB

(5 / 5)

It was a joy to be back in the newly refurbished main theatre at Theatr Clwyd for their annual Rock ‘n’ Roll pantomime this year. Theatr Clwyd is currently undergoing a huge redevelopment and aims to gradually reopen, with everything up and running again from mid-2025. The main theatre, renamed Moondance, is the perfect venue for the festive event of the year- for even if sitting in the back row, it’s impossible not to feel part of the action. Audiences were thrilled not to miss out last year as the production moved to the Big Top but unfortunately it lost the intimacy which makes Theatr Clwyd’s infamous panto so special and so, here we are, back to what we know and love…oh yes, we are!

The scene is set immediately upon entering the auditorium with an old farm windmill stage right and an ominous looking water tower with a chute attached stage left (all to be revealed later in the proceedings!) The proscenium arch is adorned with brightly coloured lights and, as always, the show’s title is displayed proudly in the centre, this year decorated with bubbles and rainbows- such a lovely, warm welcome to the new venue! Theatr Clwyd’s sets always have a story to tell, and they’ve even gone one further this year adding a nod to the modern age with flashy computer screens and super tech equipment in Suella de Rhyl’s lair (kudos to whoever came up with our villain’s name this year…and that’s coming from someone who lives in Rhyl!)

The costumes get bigger and better every year (as does Phylip Harries’ Panto Dame chest!) From the beautiful bohemian regalia of Billie Eyelash, the Fairy (another inspired name!) to the sublime and ridiculous Botticelli inspired Birth of Venus costume donned by Dame Gwladys Goose- a huge hand must go to Adrian Gee whose designs are simply show-stopping!

There is something for everyone when it comes to the music and choreography in this production. We’re treated to a version of Beyonce’s Texas Hold ‘Em but with a rather amusing lyric amendment…’This ain’t Wrexham (ooh!), ain’t no hold ‘em (hey!)’, a rip-roaringly appropriate Shake Your Tail Feather and a beautifully performed take on Snow Patrol’s Chasing Cars which is surprisingly moving.

Once again, the cast enthrall us with their capabilities as performers; line dancing one moment then rocking out on guitar the next, tackling some tricky dialogue before heading off to grab their saxophone! Incredible! And the reason, for me, that Theatr Clwyd’s panto is head and shoulders above the rest! No reliance on ‘celebrity’ names, just pure talent!

This production is superbly cast, each bringing their character to life with energy, powerful vocals and spot-on comic delivery. Phylip Harries’ once again shines as the Dame (it will be a sad, sad day when he decides to throw in the boob pads!) but special mention must go to Celia Cruwys-Finnagan as Mari Goose- standing at about five feet tall, this pocket-rocket has a powerhouse voice, sparkling charisma and sheer professionalism in spades! Director Daniel Lloyd is very much missed on stage, having been a pivotal part of Theatr Clwyd’s pantos for many years. However, his experience and expertise on stage mean he is all the better at knowing what works and what doesn’t as a director, and that paired with the witty and original writing of Chris Patterson can only be a recipe for success.

Mother Goose is quite literally the mother of all pantos- it’s got everything, from a brilliant script, a stellar cast and the perfect balance of wit, sentiment and tradition with a sprinkling of Christmas cheer. The new theatre has been christened and what a fabulous beginning to its story! Here’s to the next chapter for Theatr Clwyd!

Theatr Clwyd, Mold

December 6^th, 2024 – January 19^th, 2025

Writer: Chris Patterson

Director: Daniel Lloyd

Set & Costume Designer: Adrian Gee

Assistant Director: Ellie Rose

Musical Director: Tayo Akinbode

Casting Director: Jenkins McShane Casting CDG

Lighting Designer: Johanna Town

Sound Designer: Ian Barnard

Choreographer: Jess Williams

Company Stage Manager: Alec Reece

Deputy Stage Manager: Edward Salt

Assistant Stage Manager: Emma Hardwick

Wellbeing Facilitator: Hester Evans

Cast includes Dan Bottomley, Joe Butcher, Celia Cruwys-Finnigan, Imad Eldeen, Phylip Harries, Alice McKenna, Ryan Owen, Steve Simmonds, Chioma Uma, Georgina White

Running time: Approximately 2 hours and 20 minutes (inc. interval)

Image Credit Richard Hubert Smith

(5 / 5)

Taking two children (11 and 12) to see a production of the Dickens classic ‘A Christmas Carol’ and knowing nothing about the production was a risk.  I’d heard it was quite long, I was worried it might be very dour and maybe the language would be inaccessible for youngsters.  I’ve also experienced other Christmas productions which were quite ‘arty’ interpretations of classic tales (e.g. The Lion, The Witch and The Wardrobe – when during the interval I heard a child ask their parent ‘Mummy what’s an Aslan’?) and clearly went way above their heads.  So, I was fairly surprised to see a variety of instruments on and before the stage as we came into the comfortable auditorium.  I was also reassured to see a detailed set of a traditional snowy, Victorian street scene, as I’d feared a minimalist, abstract set that might not convey the oppressive Dickensian atmosphere.  The opening seconds of the performance also did not disappoint – a dramatic musical flourish and a burst of coloured light revealed the silhouette of our ‘protagonist’ complete with tilted top hat and heavy winter coat.  And that readers, was the end of all the traditionalism……

‘He’ was not a he at all – this Cardiff dwelling, Ebenezer Scrooge (or Ebbie) is a cello-playing, powerhouse of a woman with the stature and stage presence to intimidate all but the bravest of souls.  Hannah McPake strides around the stage, glaring and hollering at anyone who tries to drag her into the spirit of Christmas and merely laughs at the impending threat of her three night-time visitors. 

It’s difficult to know where to start reviewing the rest of the cast – each of them taking on at least two but most often four or five other characters through-out the show – but undoubtedly what they all have in common is an abundance of talent!  It is honestly breathtaking the quality of the acting, singing and musical skills we were treated to by this accomplished cast.  We had a harp, an accordion, a saxophone, we had puppets, we had slapstick comedy, tears and anguish, romance and West-End quality voices from a cast of only 8 and there wasn’t one amongst them that didn’t add to the richness of the experience we had in the Sherman Theatre that evening.

The subtle beauty of the ghost of Christmas past (Catrin Mai Edwards) – beautiful Welsh vocals and evocative storytelling had me transported to Victorian Cardiff and entranced.  Then, listed only as ‘Apprentice Actor’ in the programme, our hearts were all broken by the perfect tones of Madalena Juma as Ebbie’s Mum forced to give him up as she was sent to the Workhouse.  ‘Apprentice’ she may be, but she is definitely mastering her craft most ably as she held her own amongst this accomplished company.

After the emotion and the drama of the past, and still laughing in the face of her past crimes and misdemeanours, Ebbie and the audience are confronted with (or maybe ‘assaulted by’) the Ghost of Christmas Present…..what can I say about Owen Alun as the Ghost of Christmas Present?  There are no words – suffice to say that EVERYONE needs a ‘Ginger North Walian’ in their lives at Christmas (and frankly all year around!).  No spoilers here – you have to experience it!

In a very modern backstory, we got insight into the reasons behind Ebbie’s notorious miserliness and the drama was built as we thought the Ghost of Christmas Present had finally cracked through her hard shell and Ebbie would be saved from the torment and chains endured by her former business partner Marley, but alas she soon slipped back into her old ways.  Bring on the mighty Ghost of Christmas Future! 

The creativity of this production is wonderful – the four ghosts (including Marley of course) could not be more different – they are humorous, enchanting, ridiculous and terrifying and take the audience on a rollercoaster of emotion through-out the nearly two-hour production.  There is so much attention to detail in the set, the costumes, the vulnerable delicacy of the puppet children, the music and the songs – it combines to make a perfect evening.  Last Christmas I had the pleasure of seeing Disney’s Aladdin at another venue in Cardiff – the big budget spectacular was incredible and left me feeling joyous and uplifted, but I can honestly say that the exuberant feeling as I jumped to my feet to explode into applause with the rest of the audience after this production, was absolutely no less life-affirming and the first thing I did when I got home was have a look to see if there are still tickets available to go again!  This is pretty much a first for me – I don’t think I’ve seen any production twice in my life!  It was heartening to hear that my 11-year-old son and his friend loved it to, and he’d also be willing to spend another evening in the company of this incredible cast!  Oh, and if you’re wondering who his favourite character was?…….That well-known Dickens character – the business bauble!  You’ll just have to go and find out for yourself!

This is a play – by JM Barrie, the author of ‘Peter Pan’ – that shouldn’t work today. First produced in 1920, it puts stereotypical characters into conventional settings and develops conversations between them in dated, middle class English. There is no direct conflict and the use of clichéd idiom and vocabulary is stifling. On top of this, the plot splits between two very different places and then takes fifty years to completely unravel.

Yet it does work. Barrie prompts you into reconsidering some time-honoured and appropriate literary themes. This may be because in ‘Mary Rose’ he deploys a crude form of surrealism, using it to open up another dimension behind the mind-numbing realism.

A little girl goes missing on a small island during a family holiday. After a month she reappears, unharmed and unconscious any time has passed. Since her parents are overjoyed to have her back, this mystery is accepted. Because it is never explained, though, sitting in the audience you try to rationalise it. Is it a reference to the number of children who died in childhood before the advent of modern medicine and hospital treatment – and of how a century ago parents simply had to cope?

Because of their daughter’s brush with death, the parents in the play are overly protective of her. They worry about her getting married. She does, however, and at first everything goes well – she has a baby boy – but when she persuades her husband to take her back to the island where she once disappeared – she disappears again, this time apparently for good.

You puzzle over Barrie’s intention. You think perhaps now he is referring to how often women died in childbirth before antibiotics were discovered. But huge numbers of young people had died in the flu epidemic that followed the First World War. A lot of households had to deal with losing their daughters as well as losing their sons. The mystery in the play echoes a social environment where a generation grew up with its members not having known one or both of their parents.

‘Mary Rose’ doesn’t wallow in sorrow. Mary’s parents and husband get on with their lives. The family maid becomes a surrogate daughter and is promoted to being a paid companion for Mary’s mother. But, in yet another twist irreconcilable with everyday reality, Mary returns after a quarter of a century. She is unchanged and, again, doesn’t know what has happened. Of course, everyone close to her has aged to the point at which she cannot recognise them – even though they all recognise her. Trying to grasp the situation, you consider the issue of mental stability. Mary is like someone who has gone mad, still believing herself to be young when she is middle-aged. The unhappy atmosphere in the family re-union thus becomes realistic and credible, even though the route the story has taken to set it up has been fantastic.

To round the play off, the story fast forwards in a movement reminiscent of ‘The Winter’s Tale’ –
‘Impute it not a crime
To me or my swift passage that I slide
O’er sixteen years, and leave the growth untried
Of that wide gap, since it is in my power
To o’erthrow law and in one self-born hour
To plant and o’erwhelm custom.’

Only Barrie’s story skips another twenty-five years, to the return of Mary’s son, Harry, to the house of his grandparents. There he encounters his mother, now a ghost.

A play which reminds you of the quote you learned for your A level English exam can’t be all bad. ‘Mary Rose’ is not on the scale of a Shakespearean play, but it gets away with what might just be a device – the use of unreal passages of time – to force consideration of family life – at this point, a kind of climax – reconciliation. The long-lost son is allowed a (brief) meeting with the mother he never knew, while she discovers her son has led a full life, a discovery that allows her to disappear forever – happy at last. Barrie succeeds in infusing his story with some poetry – as he had earlier with ‘Peter Pan’.

You could leave the theatre thinking about how surrealism never really got going in England, perhaps because of our insular attitude towards Europe, perhaps because our intelligentsia didn’t speak any foreign languages. You might also want to wonder why Barrie, who was very well connected with the other literary figures of his day, is no rival for Chekov, who was born in the same year. He’s hardly an English Ibsen, either. But whether you’re interested in its background or not, the York Actors Collective deserves congratulations for reviving a play that is so little known. (They won’t have earned much for their work, either, as it only resulted in a short run in a studio space.)

The Collective managed to wring the few laughs there are from the script. They made the stuffed shirt characters more or less sympathetic. The scenes didn’t drag as they might have done and the conversations, although clunky and predictable, rattled along without the need for overacting. The addition of a slight Australian accent for Harry, and a Hebridan brogue for Cameron, the gillie who accompanies Mary and her family to the little island, added colour. I didn’t find the portrayal of Mary’s husband, Simon, convincing but it is nightmare role to play, as he – a naval officer – is completely devoid of personality. The set was minimal but adequate for a studio production. The period atmosphere was caught by a few items of furniture and the appropriate clothing.

Theatres shouldn’t run too many revivals at the expense of new work, but there are a number of plays out there which are unfamiliar to the general public. Given the right kind of treatment, venues will benefit from putting them on. We saw this with the National’s ‘An Inspector Calls’ a few years ago and also with Theatr Clwyd’s production of ‘Rope’ in July this year. More, please.