The best thing about the Fringe are the hidden gems. It’s often rare and difficult to find, when the “hidden gems” get critical acclaim and become the talk of the festival. However, this production was certainly one that should have been picked up as a real gem.
Tit Swingers is a punk concert meets unapologetic history re-telling of notorious pirates of yonder time. Anne Bonney, Mary Read and Calico Jack (though he is only the pretty male face in the background) tell us the tales of their seven seas and ambiguous sexuality and how they became feared pirate women of history.
The stories are told through a combination of original sea shanties, punk music and stand up/story telling, with electric guitars, bass and a live drum kit. The songs are catchy, they are engaging and every essence of Punk. Instantly, I knew this was my kind of show. It was one of those “musicals” that you want the CD afterwards (and saying CD shows my age, wait until I ask for a cassette…).
The interaction between the three characters is faultless, comical and with a sexual tension that could be cut with a knife. There is a real “girl power” element, with Calico Jack, part of the story, but in the position of arm candy; a serious change to the social norm. They are all fun, powerful and, while there is clearly some script or guidelines to the narrative, it feels much like we are included in a tale spoken on the spot, with the characters bouncing off one another, ad-libbing and engaging us. Sadly, the performance I went to only had a handful of audience members, and those who were not the most confident in engagement and so this led to the occasional awkward pause, changing the atmosphere. Not a fault of the performers or the content, but it sadly created drops at times that were not deserved.
The story is also very educational; while it wouldn’t be advised to bring kids, for the language and sexual references, it did deliver a element of learning that I feel many would enjoy history more if told in this media. It’s modernised, with current language and slang, and the way that the performers deliver it has you listening to every word. Names I had heard of, but not really engaged with, I came away with brand new knowledge and more love of history, and pirates.
Tit Swingers is a golden nugget of the Fringe; music, sex, comedy and pirates … I’m not sure what else you would want from a show. But you definitely come away with something extra special as well.
Opera Rara, still strive to perform the lesser heard masterworks of the 19th and early 20th century opera world. In a salon concert at a private residence, I was given a warm Welsh welcome, thanks to those performing aside the London charms of the hosts. Jessica Robinson, as seen on Cardiff Singer, might just be one of the most friendly singers I’ve ever met. Brief chats and all things Wales were on the agenda before hearing her sing on the night.
Sat near the front at this intimate concert, Jessica was never too loud nor overbearing. Everything was extremely smooth in her delivery. Her patter in Italian is lovely, years of training have really shown off her talents. This was a varied programme, Donizetti rarities ever present and other odd and compelling treats. Jessica’s acting though seen less here, was present for moments. Scarlatti’s Le Violetta, was a soft opener to guide us into a journey spanning decades and our continent. An aria from Handel’s Alcina was another vigorous triumph. James on piano also played with ease, his flow for all the songs was highly skilled, he seems to have great patience and passion for these delights.
For the first set of Donizetti songs we had varying moods, aside ‘Oriental’ musings and loved up extremities. Whilst I may not be completely taken by him as a composer, hearing these pieces hardly heard and delivered so well, it’s hard not to be pleased. Two Bellini flutters, gave Jessica Bel canto aplenty, proving she works well in the style, her trills impactful. Further Donizetti Billets chéris, interprètes de I’âme and Au tic tac des castagnetts prove his cleverness, the piff and sexed up vocal lines are never far away. Curiosities from Saint-Saëns and Reynaldo Hahn featured words by Victor Hugo and some of the most sweet and evocative conjuring of the night.
Proudly, the programme ended with a Welsh legend: Morfydd Owen. I proudly told this London audience after how much she means to us in Wales, a female composer filled with innovation, taken from us far to early. I’ve compared her to Lili Boulanger, a sort of French equivalent to Owen. These two Welsh language choices, I doubt are hardly heard outside of Wales, though their impact ending the night was palpable. Tragedy mixes with gutsy storytelling, strong themes from her homeland, as these dramatic songs unite the traditional with the experimental structures of her day.
Like a lot of opera companies at the moment, Opera Rara are also in need of funding. Expectational concerts like this prove the professional, kind and inspiring ideas that are so much needed today.
Another welcome return to hear The Mozartists. They were the last concert I attended in London before lockdown and one of the first when back to visiting again. Though the focus has been the boy genius, they have also defined Mozart’s life with his contemporaries and inspirations.
In this fine evening, the large audience at Wigmore were given an introduction to Italian composer Niccolò Jommelli (1714-1774). Having died 250 years ago, what is most upsetting is his lack of fortune in the centuries after. In his day he remained a valiant opera writer, amongst other amazing pieces. Disregard and forgotten, good on brilliant conductor Ian Page, who is always splendid for bringing this treasure chest of a programme to our ears.
There is a highly listenability to these arias. Whilst they may not have the complexity of Mozart, nor the sincerity of Handel, they are still wonderful items. Emily Pogorelc was indisposed, so my proud Welsh heart was delighted to see our Fflur Wyn take over the soprano role. My utmost respect goes out to Fflyr, who had a few days to learn all this, essentially something no singers around the world knows. I’ve loved seeing her at Welsh National Opera, her gliding high range and controlled middle register are standouts.
Each arias was from some of Jommelli’s 30 odd operas, of note was the finale to ‘Didone abbandonata’ from 1763. Taking the typical Dido & Aeneas story, this milestone is post Purcel and pre Wagner’s immolations. The exceptional wrap up sees a betrayed Didone yeild to her fiery temple of fate. She is not in aria mode proper, but somewhere between that and recitative. Chromacticlly this is very interesting, as the ensemble also plunge into depths, rarley heard for its era. Performances proved such success at its conception, that spectators demanded an encore of the finale. One could not blame them.
These arias all had rampant intrigue, I may not be able to detail all and I’d strongly urge those curious to acquire the recording of this immaculate concert when it’s available. It was all just so very touching, hearing a master composer writing his heart out, with fine singers and superb a ensemble of musicians. The rarity of these arias were stuffed with romance, vengeance, heart ache, fury and longing.
Each piece was such a treat you’d almost call it sinful. Mezzo Ambroisine Bré also wowed with subtle harmonies, with murky underworlds of fluid melody. Tenor Hugo Brady is a fresh faced hero in these parts, lots of Greek and Roman myths abound. His vocal range has spritely charms and a glowing aura, never over bearing which you can get with the singing type. The ensemble never disappoint, they live this work as they reach the hill of music making in completing Mozart’s full canon and these trimmings. Page as maestro melds all together in a fine mesh of serenity.
An encore of another aria, bleeding straight into a church hymn will be more things to cherish. I’d hope to hear the recording of this very soon.
The Mozartists future events are already popped down in my diary. They are a must when in London.
The Royal Welsh College of Music and Drama in Cardiff runs a Community Ticketing Scheme. The Scheme supports a range of eligible people to access a FREE performance. You can see some of the performance’s available this week 23-30/09/24 below. If you are interested there is link to the eligibility criteria and a sign up form below.
Dennis Rollins & Royal Welsh College Jazz: Calypso Cymru
Thurs 26 September 2024 7.30pm
Dora Stoutzker Hall
£7.50-£15
Musical memories from the Windrush Elders Cymru are re-imagined through the musical artistry of jazz giant Dennis Rollins together with Samuel Dubois on steel pan, Cameron Pierre on guitar and Royal Welsh College’s jazz performers. Breathing new life into the calypso-classics of Lord Kitchner, Harry Belafonte, Mighty Sparrow, Monty Alexander and more, the gig will also feature new calypso/jazz arrangements of Jump in The Line, Brown Skin Girl, Angelina and Sly Mongoose. It’ll be sure to have you dancing in your seats!
“It’s going to be a pleasure to return to RWCMD for an expansion of our 2023 collaboration, Calypso Cymru. Here, our connection is the song.” Dennis Rollins
She was fame hungry, he was doomed to follow her. As one hit wonders, this is a story of their big come-back. With Sandy’s determination and Bruno’s blissful devotion to her, they are here; not by popular demand, but by sheer defiance.
With striking aesthetics and a rousing soundtrack, THE BAND is a quirky, humorous display of desperate ambition and blind affection told through awe-inspiring dance, theatre and circus.
Funded by Arts Council England. Developed with the support of Greenwich & Lewisham Young People’s Theatre, as part of Progression (an Arts Council England funded project). Supported by Greenwich Dance and Jacksons Lane.
Join the award-winning ORA Singers for their inaugural Graduate Composers’ Showcase, the culmination of a brand new scheme designed to celebrate the rising stars in composition. Hear the five exceptional new voices in contemporary music: George Parris, Liberty Richardson, Tomos Owen Jones, Emma Pascoe, and Jorge Ramos, with additional ORA commissions from acclaimed composers, Paul Mealor and Odaline de la Martinez, alongside renaissance masterpieces
Exploring the connections between musical traditions and the natural world, Making Tracks brings together exceptional musicians from all corners of the globe. Collaboration has the power to foster a deeper appreciation of both biodiversity and cultural diversity, and this autumn, Making Tracks visits Cardiff for the first time with a fresh line-up of eight musicians performing a captivating programme of solo and ensemble music.
You can find out more information and book ticket here
Information on The Community Ticket Scheme
RWCMD is a performance venue with a range of theatres. We work to support the public to watch the full range of performances, many of which are free and happen regularly, like AmserJazz.
We specifically focus on supporting people who may face barriers to coming to the College. If you are a member of one of the groups below and are interested in seeing a performance at RWCMD for free, please fill this form or phone our Community Engagement Partner – Guy O’Donnell at 029 2034 2854
People from the areas of Cardiff:
Ely,
Caerau,
Canton,
Riverside,
Grangetown,
Butetown,
Adamsdown,
Splott,
Rumney,
Llanrumney,
Trowbridge
Llanedeyrn,
St Mellons
Pentrebane
Asylum seekers and refugees (Referred through membership with partner organisations)
Disabled people (Referred through membership with partner organisations or evidence of status)
Tempo Time Credit network members
Care experienced children and young people.
Groups and individuals supported by Race Council Cymru and Chinese in Wales.
We are keen to learn more about what barriers to study or live performances exist and how we can work to remove them. We seek to learn, share and work with a range of communities.
If you have any queries or you would like someone to speak to your group about the Scheme, please contact Communities Engagement Partner – Guy O’ Donnell.
Guy works on delivering a wide range of engagement activity, working across every aspect of the College with potential students, community groups, schools, colleges, audience members, partner organisations, decision makers and the wider public. You can email him at this address guy.odonell@rwcmd.ac.uk
Everyone has a Kate Bush story. Whether you’re a big fan, have only ever heard her from Stranger Things, met her or know someone who knows someone who has met her. She is a staple of the 70’s and 80’s. So what’s the best thing to do with this love in 2024? Go and see a theatrical homage to the great.
This is not Kate Bush, this is without her and to some level, a love story to a childhood. Sarah-Louise Young is our Kate Bush, intimately telling us about growing up, with every element of comedy in her re-telling of wanting to wear spandex and the practice she has undertaken to move just like the great Kate.
The audience is full of those who love Kate, who have been dragged along, who have only heard a few songs, and we all collect together as Young brings us in with comical outfits, movements and “scenes” playing out Kate’s songs. She uses puppetry from a giant eye, to a mop, which weirdly still feels like something Kate Bush would do. But it brings it down from being a tribute act to something more avant garde and stylistic.
Young is very personable; she is in the audience, speaking with different people, bringing them on stage to party with her and we are all welcome in the room like old friends. She shares her love of Kate with us and so this barrier broken down between audience and performer helps us get on her train.
And it would be amiss to forget her phenomenal singing voice – while I’ve not seen anything else from Young, there’s a sense that, while you could close your eyes and swear Kate was in front of you, she effortlessly seems like a performer who is talented in changing her voice and still keeping the range and impact.
An Evening Without Kate Bush balances seamlessly the bridge between a tribute act and a fantastic piece of fringe theatre. With Kate Bush rarely in the public eye, Young’s talent is the closest you will get to a concert by the great moor dancing singer.
One thing I felt I missed this year at Fringe was circus. Not that there wasn’t plenty to see but it was one of those years that it just didn’t come my way. So to be able to see this beautiful piece, N.Ormes was enough to satiate that thirst.
N.Ormes is by a circus duo who aim to break down pre-conceived ideas about bodies and gender. By subtle changes in costume, lighting and the swapping of “roles”, they conduct an acrobatic dance to show the extent to which the body can go, no matter the gender.
The piece is fully mute and so much of the story line and emotion is brought through facial expressions and gestures; we begin with the concept of their love, then the exhaustion of the relationship but as it continues, the physical strength between the two genders projected on stage shows an ever swapping support of one another, physically but also emotionally. There are moments of comedy, nothing laugh out loud, but a smirk or a chuckle on the ordinary interactions of two humans… while it happens mid-air is another matter, however.
The two conduct feats that you can only dream of; being pushed up high by feet, in a sitting position, to only come back to the unusual seat, a seemingly small woman able to lift a tall man by just her head and so much more – we know circus artists are super human but they cleverly do this in a way to juxtapose the norm of what we usually see in a circus show.
The production ends with subtle lighting on their bare torsos while they continue acrobatics and it is just beautiful. The bodies merge into one and we are just left with skin and muscle – no idea the gender or the person. It is quite poignant.
My only negative is that the production felt consistently at one note. I wanted there to be a bit where it sped up or got intense but it didn’t quite reach that change. But none the less, it was certainly art.
N.Ormes is a powerful display of physical exertion with all pre-conceived ideals and gender norms thrown out the window. I just wanted something to break up the steady pace they had set.
I’ll be honest – I had no idea about the Gwyneth Paltrow Ski incident. Maybe I’ve been under a rock. But in a way, this was a great introduction, with all the drama and opportunity to make the story even more theatrical.
If you are like me and been under a rock, Gwyneth Goes Skiing looks back, with artistic licence, at the recent court case between Gwyneth Paltrow and the ordinary member of the public, Terry Sanderson, after a collision in the Utah mountains. Awkward Productions have of course interpreted and hammed up this story for our entertainment.
I was introduced to Awkward Productions with Diana: The Untold and Untrue Story only a few months ago, coming out in stitches and with an appreciation for this company’s approach to theatre. Perhaps my expectations due to this were too high, as this particular show didn’t give me the same wow factor.
Compared to Diana, we see more from the company’s production and Joseph Martin’s portrayal of the ordinary man out of the spotlight was hilarious, with moments of ad lib executed perfectly and still in character. Linus Karp, our Gwyneth is also comical but the character felt too much like their Diana character, with the same narrative hooks, movements and gestures. Karp is a fantastic as a performer, but for me, there was just too much similarity between their two characters for me to be allowed to be taken over by the story line.
Like Diana, audience interaction is paramount and this is done really well, with multi-media use and a surprise in the audience choices. The audiences themselves also gave in fully and this made hiccups or narrative surprises very funny and added another level to the production.
While everything at Fringe is shorter, at just over an hour however, this show felt as if it needed just a bit more trimming. The start was delayed slightly by the sold out audience and therefore, while running over schedule anyway, it lead to a lot of quick dashes by the audience. And perhaps it was this atmosphere, but it felt as if our court scene took a while to reach its conclusion. It was a shame to feel this way and with it running over, it felt as if attention in the room was slightly lost.
Gwyneth Goes Skiing is every bit silly, camp and melodramatic. With a few tweaks, this could easily be up with Awkward Productions Diana: The Untold and Untrue story as a masterpiece of fringe theatre.
Saint Hildegard of Bingen is many things to many people. Born over 900 years ago in Germany, her impact on music, Christianity, botany, poetry and more should never be understated. This impressive show honouring the abbess is a collaborative process between singers, artists and composers.
Voice Trio comprised of Victoria Couper, Clemmie Franks and Emily Burn make up this sacred offering of Hildegard’s compositions and new flutters from Laura Moody, amongst others. This all works very well, musically fairly approachable, even with newer work trying out some fun tricks. The harmonies between Voice Trio are blend that is highly attractive and comforting. Personally, I believe Hildegard is more important as a historical figure than as a composer per se. I wouldn’t always say I emotionally connect with her rigid, almost stone music. Though glory of her God is in every bar, aside the natural world and other philosophies.
Artist Innerstrings, adds a potent contribution with that of psychedelic visuals. A live stream of the singers is the grounds for a development of lava-lamp buoyancies, piercing acid saturations and bleached rhythmic constructions. The concert started with a note that the saint most likely got those visions due to migraines, leading to a visual decpcition of an optical migraine. This is an awful thing to encounter, something I had in lockdown, as silvery patterns in your peripheral vising lead to a horrendous head pain. So I can relate, though I can’t say I had the visions.
The newer work (see the full programme below) was perfect for theme and mood of the night. Spritely, tender and affirmed, all things were well for this hour. Near enough a religious experience without heading to church. Clever uses of spoken words, mutterings and varying touches of discord all added in. Laura Moody and her Hildegard Portaits felt like a backbone in the placement in the bill and the final ‘The Living Light’ movement had a deep atmosphere for the trio, the highest plateau of emotion to conclude this saintly service.
Programme:
Hildegard von Bingen ‘Antiphona: O successores’, Psalm antiphon for Confessors ‘Responsorium: Favus distillans’, Responsory for St Ursula and Companions, likely for Matins Marcus Davidson Musical Harmony Laura Moody ‘Humility and Universe as Body’ from Hildegard Portraits Tim Lea Young Three Wings, Part 1 Hildegard von Bingen ‘Antiphona: O virtus sapientie’, Votive antiphon for Divine Wisdom Stevie Wishart Azeruz Laura Moody ‘Sermon and Sing’ from Hildegard Portraits Hildegard von Bingen ‘Antiphona: O mirum admirandum’, Psalm antiphon for St Disibod Stevie Wishart ‘O Choruscans Lux Stellarum’, On a cantus firmus by St Hildegard of Bingen Hildegard von Bingen ‘Antiphona: O orzchis Ecclesia’, Antiphon for Dedication of a Church Marcus Davidson O Boundless Ecclesia Laura Moody ‘O Woman’ and ‘Love’ from Hildegard Portraits Emily Levy How Sweetly You Burn Hildegard von Bingen ‘Antiphona: Unde quocumque venientes’, Antiphon for St Ursula Laura Moody ‘The Living Light’ from Hildegard Portraits
Off the beaten track for a more curious endeavour in London. A queer reimagining of Shakespeare with Antony and Cleopatra. Conceived and directed by Robert Chevara, this was a simple affair made better with a intimate venue.
We see a lot of the typical things asscotaed with gay men…clubs, dancing, leather, cross dressing, poppers almost other delights. I’d say this worked to an extent wondering if this play has ever had this tenet before. It is condensed into a 70 minutes so there is little time to truly develop things organically. Like the blasting club beats, you have to get lost in the heat and sweat of it all. Antony is William McGeough perhaps the strongest in the show. Lots of rage and sultry allure on this fallen Roman. Cleo is Jonny Woo, who steals the show with wild dress up, camp personas and a swooping mood swings.
Stripped back with the two leads and thier assistants: support was that of Charmian and Dolabella. Alexis Gregory and Jonathan Blake in these roles work well, moment of blissful camp elevate the Bard’s word for lines that might not necessarily funny. Both had seriousness too when needed, the weight of the lovers romance begets tragedy for all involved. Moments of karaoke helped soften the mood. Its usage did not overbear, though any more would have done so.
Some of props and costumes use is clever. Cleopatra’s wonderous death crown and jewels have to be seen to be believed. No asp in site for her tragic end, instead a more piffy shot of smack it would seem? Stroves lights upon the wall and ceiling are effective, not over used in moments of attack nor movement. There is a fair bit of back and for between the audience, I found myself moving over front and centre that I was.
This should find an audience, its queerness shot through and it had its moments.
1975. An empty Broadway stage. It’s the final audition stage for a brand new musical and only eight dancers will make the cut. The stage is bare, we can see the inner workings of it all including being able to see the stage-hands as they move the set pieces across the stage. The first round of cuts take place and seven leave the stage. We are left with our final 17 performers.
This is the musical that revolutionised Broadway when it opened at the Shubert Theatre in 1975 after a number of workshops and an off-Broadway run. With music by the legendary Marvin Hamlisch, lyrics by Edward Kleban and a book by James Kirkwood Jr. and Nicholas Dante, it was a huge hit, winning nine Tony Awards and the Pulitzer Prize for Drama in 1976.
This touring version is based on the 2021 Curve Leicester production with Adam Cooper and Carly Mercedes Dyer reprising their roles of Zach and Cassie respectively. They are joined by a hugely talented cast who recount the real-life stories of dancers who faced these gruelling auditions, recorded in late night sessions by the creator of the show, Michael Bennett. What I really loved about the show was the delivery of these testimonies; you can feel the weight and the truth of these stories echoing from across the ages.
The bareness of the stage and to view the inner workings of the theatre eerily reflects how Director, Zach encourages the seventeen performers before him to lay bare their souls. Individuals struggle with what they should tell him, which is hugely amplified by Larry who ‘features’ them by live streaming their nervous faces onto a huge screen behind them. I really enjoyed this aspect; the idea of the chorus line is to ‘not be seen,’ to become one of the dancers and to not stand out or draw the eye. But the chorus line is still made up of individuals; human beings with their own hopes, dreams, egos, fears, their own stories. The use of the camera really helps this to shine through. Even when there is action on the front apron of the stage, Larry shows us the inner workings of the people behind the chorus line.
It goes without saying (in this sort of show) that the dancing is spectacular. When they dance as a whole, the effect is dazzling. Huge kudos to Ellen Kate, the choreographer of the piece. Being sat in the circle allowed me to really appreciate the formations as they stretched into the depth of the stage. The singing too is excellent, as an ensemble and individually, the talent on display is exceptional. I particularly enjoyed ‘At The Ballet’, ethereally delivered by the trio of Sheila, Bebe and Maggie (played by Amy Thornton, Lydia Bannister and Kate Parr respectively), ‘Sing!’ delivered with fantastic comedy and dancing by Kristine and Al (Katie Lee and Joshua Lay), ‘The Music and the Mirror,’ stunningly delivered by Carly Mercedes Dyer is danced and sang to perfection and, ‘What I Did For Love’ in a heartfelt rendition by Diana (Jocasta Almgill) and the Company. Of course, ‘One’ is a triumph, a stunning end to a musical which flies high with dreams, brings us to the depth of human emotions, makes us laugh and cry in equal measures.
I highly commend the production and its well-deserved place in the history of Broadway and musical theatre as a whole. Touring and West End productions are stunning, dramatic affairs with huge sets, beautiful costumes, jaw dropping effects. It’s refreshing to see the ‘bones’ of a production, what makes up the incredible productions we have the pleasure of seeing here in Cardiff; to see the blood, sweat, tears, joy and fear that go into the creation and casting of Musical Theatre’s biggest shows. This show truly is a ‘singular sensation’ and one that cannot be missed.
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
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