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Festivals, Opera & classical, Theatre, Uncategorized

Review, QUEENS, Anne Welenc, Summerhall, Ed Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

In the underworld, meets a post apocalyptic, sci fi existence, the unlikely friendship of Mary Queen of Scots and Elizabeth I meet, in a zombie/un-dead state along with Penthesilea and Valkyrie. This bizarre but fantastical story is every element thought provoking, chaotic and camp.

Stuck in limbo, these matriarchs have an almost symbiotic relationship – love and hate, dependant and independent, they touch upon history and pop culture to bring a discussion of appropriate rule within the patriarchy and modern world.

Our main Queens are drag artists, balding heads and darkened teeth, they are hammed up versions of historical portrayals with attention to detail such as the blood under Mary’s pearls. The two are opposites – appropriate in Scotland – Mary is in white and Elizabeth in black. Not only does this feel like a nod to Scotland but against the grain of the virginal Queen versus the evil Scottish usurper. Unsurprisingly from this, Elizabeth becomes wild and unruly, creating a juxtaposition of characters.

It is no surprise that the group are from Berlin and so the no holding back breaking of barriers, absurdity and level of camp fills every bit of the production and it is brilliant. However, there are elements that sometimes are either too complicated or wild that there are certainly gaps of understanding and loss on a British audience. Its crudeness again aims to shock and for the average audience, this works – the uneasy giggling amongst, but it is also Bouffon – shown in their garments and padding all the way to the taboo.

QUEENS encapsulates Berlin LGBTQI+ culture, with the crudeness of a drag show, meeting punk and thoughtful commentary on patriarchy, history and popular culture. A brilliant show but perhaps more of a knowledge of this culture is needed for audiences to alleviate the gaps in energy.

Festivals, Theatre, Uncategorized

Review, Shotgunned, Kangaroo Court Productions, Ed Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

A tale as old as time… well… not quite in the Beauty and the Beast sense, but in a much more relatable, modern way.

Shotgunned is a rom-com meets coming of age story, where love is strong and intense, throwing in life changing events and eventually leading to the sense of “the one that got away”. It is equally heartbreaking and humourous, and follows the lost love story-lines we see more and more of; from 500 Days of Summer, One Day and David Nicholls’ other lost love book, Sweet Sorrow… this is a love story but not with its usual happy ending.

Ros and Dylan, intertwined already by their exes, meet at a party and in time fall in love, get pregnant, lose the baby and lose one another. With the use of blackouts, we jump forward and back in time, to see the happy times and then the breakdowns, mixing the timeline to keep us guessing. This is theatre and so keeping this non-linear is a good theatrical technique. However, the blackouts felt a little amateur and lost a bit of the theatricality for me. Maybe a song and light interlude or a clever exchange of props to slide into the next scene would give this some edge.

The performers have their A game on – like any fringe show, there are interruptions from late patrons and this doesn’t disturb them. Their connection feels natural and so the hard bits feel so much harder and the nice bits feel all the bit more light. You can’t help but get into their love. But there were times where I couldn’t quite gel with them as a couple and therefore [spoiler!] when they break up and never end up together, it isn’t as gut wrenching as it is meant to be. But you’re happy for them either way. It isn’t the acting nor is it the acting… but there’s something about these characters that just doesn’t hold you as a couple.

The writing is fantastic and helps with the bouncing of the characters, using moments of calling back to make you chuckle or gasp in recognition of a former conversation or comment. These are also used to go from positive to negative and visa versa, adding layers to the intimacy of these two characters.

Shotgunned is a lovely show. I really enjoyed it, with it feeling equal parts light and blue. Once further developed, this could be something that could really resonate with audiences.

Musical, Theatre

Review, Heathers The Musical –Wales Millennium Centre, 13th August 2024 by Bethan England

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out of 5 stars (5 / 5)

Heathers certainly has a cult following if the red, green, yellow and blue costumes in the audience are anything to go by and judging by the overwhelming response to every single musical number in the show!

Based on the film of the same name released in 1989, Heathers has had a successful run of productions both on Broadway and in the West End. In fact, the most recent tour was 2023, so the show’s popularity is obvious. It has gone through various iterations and versions, with the most recent featuring new songs and replacements for others. ‘Blue’ is replaced with ‘You’re Welcome;’ Heather Duke gets a song in ‘Never Shut Up Again’ and we get the big, belt number, ‘I Say No’ for Veronica, originally created for Carrie Hope Fletcher when she played the role in the West End.

The story is a dark comedy, with particularly intense and difficult themes. Nothing is shied away from; we see bullying, teen suicide, sexual assault and school violence. Veronica longs to simply survive High School without being bullied and picked on every single day. She manages to convince the Heathers, a group of ultra popular, ‘teflon’ girls to accept her as one of their own, and chaos ensues. She meets the enigmatic and damaged new student JD, and inadvertently gets caught up in his desires to rid the world and their high school of anyone he deems unacceptable to the better society he envisions. The show embraces these tough subjects and never holds back. It grabs you by your coloured school blazer and refuses to let go until the very end.

The action bursts onto the stage with ‘Beautiful,’ introducing us to Veronica and Westerburg High in 1989. Jenna Innes returns to the role after the tour in 2023; she is a fantastic Veronica, the loveable nerd who just wishes High School could be different, that everyone could get along just like they did in Kindergarten. The song is a fantastic opener, introducing all the characters and setting the tone for the darkly comic nature of the show.

Jenna Innes is entirely believable as Veronica, with a powerful voice and exceptional delivery of both dramatic and comic lines. She is quickly corrupted by her involvement with the Heathers and the damaged JD. This is not an easy sing, (and she barely leaves the stage!), but she delivers the big numbers with absolute ease, and I particularly love her facial expressions and reactions to everything going on around her. My favourite number is ‘I Say No,’ but every song is delivered with poise and a belt to die for. Her character arc is expertly delivered, and this is clearly a role that Jenna adores and was born to play.

‘Beautiful’ also introduces us to the Heathers themselves, Heather McNamara, ‘the head cheerleader,’ Heather Duke, ‘no discernible personality but her mom paid for implants’ and of course, Heather Chandler who is a ‘mythic bitch.’ They work so well together as a group; ‘Candy Store’ is exceptional; harmonies and dancing are on point and the lyrics are entirely inappropriate and therefore, completely hilarious. Each Heather gives a great performance, each clearly have fantastic vocal chops and can dance to match. Esme Bowdler particularly comes into her own after her untimely demise, with her haunting of Veronica in turns hilarious and menacing. Sedona Sky as Heather Duke delivers one hell of a number in ‘I Will Never Shut Up Again’ and Daisy Twells as Heather McNamara is the loveable ‘dumb blonde’ until her rendition of ‘Lifeboat’ which paints her as much more than we first perceived and is a powerhouse vocal performance.

Other special mention to Amy Miles who makes her professional debut as Martha Dunnstock and who leaves the audience breathless with her performance of ‘Kindergarten Boyfriend;’ you could hear a pin drop in the silences of the song and Amy owns her second.

The ‘villain’ of the piece, JD fights his way into our hearts with a highly comedic ‘kicking of asses’ in ‘Fight for Me’ where he very slowly knocks out Kurt and Ram (very ably played by Iván Fernández González and Jason Battersby respectively, both exceptionally funny and fantastic movers!). JD is portrayed by Keelan McAuley, and I was in awe of his vocals, the way he can sustain that gruff belt over a considerable tour is impressive. Nothing is held back, especially in ‘Meant to Be Yours’ and ‘Freeze Your Brain.’ His character arc in the show is amazing; he goes from damaged teenager to all out murderer of his fellow students in his quest to make a ‘decent world for decent people.’ He makes this very believable, and his study of the character has clearly paid off.

There are so many moments of incredible singing and hilarious delivery of lines; Lucy Sinclair shines as Ms. Fleming and Veronica’s Mom, especially in Fleming’s ill judged TV campaign against teen suicide in ‘Shine a Light.’ Conor McFarlane (Ram’s Dad/Big Bud Dean/Coach Ripper) and Alexander Service (Kurt’s Dad/Veronica’s Dad/Principal Gowan) absolutely steal the show in ‘My Dead Gay Son’ with dancing and rainbows aplenty. The whole ensemble dance and sing their absolute socks off in every scene and the show is punchily delivered in every musical number.

All in all, I’ve seen this show once before, but this iteration was honestly well worth the standing ovation that the whole theatre delivered as soon as the cast came on for their bows. The show is full of difficult topics which still resonate today, 35 years after the show is set. To see so many young people in the audience, clearly loving every second and able to identify with some of the experiences on stage means that musical theatre will continue to thrive long into the future. To that end, Heathers deserves a place up there with some of the classics for, after all, ensuring that audiences continue to fill those theatre seats is ultimately the goal of all musicals and one that Heathers clearly does with ease.

Music

Review, Das Fluff & Lene Lovich, Dareshack, Bristol by James Ellis

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out of 5 stars (4 / 5)

I missed a rare, exciting Cardiff date at Fuel, we got the punk icon Lene Lovich here. I got to see here in Bristol the next night. Things were off to a ropey start when a somewhat familiar figure said to me I didn’t look the type to come to a goth event. What ever that means. God forbid an artist and journalist make discoveries!

The warm-up from Das Fluff was odd, fun and stirring. Dawn Lintern, the band’s writer and arranger melds with her long-time collaborator Christian Ruland. Lintern often delivered acidic vocals often funny and the spirt of punk never waning. Songs choice were stuffed with the ghosts of awful, past band members, a highlight was a left-field spin on quick footed drug addicts in Berlin. You never quite knew what was next. Ruland plays groovey keys and a modified theremin was a nice touch. The overall ambient vibe clashed with harsher rock protests, Das Fluff was everything it needed to be.

An all over giddy feel fell when Lene Lovich arrived after a break. With both American and English heritage, she has had an impact both sides of the pond. I can see her set going down well in New York. She often gets her freak on, with head gear looing like a veiled Dune extra, Vivienne Westwood and the darkened pigtails of fellow musical icon Meredith Monk. With a Number 3 hit with Lucky Number, she has made a mark especially in the punk era of yesteryear. Before the songs, surreal words and high vocalisations are the usual expectation.

Goth aside, ska in funky moments, fuse her songs with grit and poetry. The mood is abstract, yet each song was highly danceable, few songs were the slow ballad sort. Say When is another highlight, though the songs span decades and in her mid seventies, there is no sign of retirement. A mighty band also lifted things in to the air, some new members rubbed elbows with veteran musicians. Often a good time, the only slight was a uneven moment when it felt like a fight was going to occur in the concert goers, thankfully not.

Lovich’s voice is a fairly typical punk growl, I would like to hear more of her range, the little skats before songs show promise. Often the music is fiercely political, fed up and also thrilled to just to be here. 

Musical, Theatre

Review: Book of Mormon – London – 25.8.23

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If you’re not aware of BOM. It’s a musical comedy with music, lyrics, and book by Trey Parker, Robert Lopez, and Matt Stone (South Park & Frozen). It follows two Latter-day Saints missionaries as they attempt to preach the faith of the Church to the inhabitants of a remote Ugandan village.

Simple premise for a musical, I guess. The best way to describe it, is someone took a book of Musicals For Dummies, copied different musical ideas, used the comical genius behind South Park (not forgetting Robert Lopez who’s part of the team that have brought us Frozen & Coco), and you have one of the funny & cleverest musicals of the last decade.

In saying that, this isn’t for everyone. The subject matter itself could be controversial, but I’ve another perspective. It’s not about one religion, it might be named after one, but the tone and material itself is about all religion, and the basis of it – a belief. It doesn’t say one religion is bad, and one is good, it just says your beliefs are yours – there are no wrong or right answers.

Having seen the tour which came to Cardiff in 2021, and in London in 2017, the current cast of the Summer of 2023 are quite possibly my favourite by a long way.

Steven Webb shines as Elder Mckinley – which isn’t a major part but steals the show with his asides and quirks that he’s brought to the role. Ben Tyler and Connor Pierson, Elder Price and Elder Cunningham also remain a huge highlight, and the ensemble were also on point.

Overall – I believe, Book of Mormon, is much better than any golden plates!

Review: Patrick Downes

Musical, Theatre

Review: HAIRSPRAY 30.7.24 WALES MILLENIUM CENTRE Patrick Downes

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Hairspray at the Wales Millennium Centre in Cardiff was an absolute whirlwind of fun, energy, and infectious joy. This production captured the essence of the 60s with a vibrant, colourful, and over-the-top spectacle that left the audience cheering and dancing in their seats.

From the moment the curtain rises, you’re transported to Baltimore, where the rhythm of the music and the infectious enthusiasm of the cast immediately grab your attention. The iconic songs, including “Good Morning Baltimore,” “Welcome to the 60s,” and the show-stopping finale “You Can’t Stop the Beat,” were delivered with powerhouse vocals and impeccable choreography.

The heart of the show, of course, is Tracy Turnblad, played by Alexandra Emmerson-Kirby in her professional debut. She was just sensational. Her incredible voice made her the perfect embodiment of this beloved character. The supporting cast was equally impressive, with standout performances from Edna Turnblad (Neil Hurst) and Wilbur (Dermot Canavan) certainly stole the show with “(You’re) Timeless to me”.  Michelle Ndegwa also made her professional debut in the show as Motormouth Maybelle having been selected from more than 3,000 people who applied to the open auditions in November last year.  “I know where I’ve been” is such an emotional number and to perform it in the way Michelle did, wow!

The set design was simple but visually stunning, capturing the spirit of the era with colourful projected backdrops and eye-catching costumes. Most touring shows follow the same process – and Hairspray delivered. The choreography was energetic and fun, with the ensemble dancers bringing a high level of skill. The show start seemed a little laboured and it probably wasn’t till the second number things started to gel.

I’ve said that I believe Hairspray has one of the most incredible show finales – even better than Les Misérables – granted no one dies in Hairspray and it would be like comparing a Mini with a Porsche. But it certainly leaves you with a smile on your face and a spring in your step. It’s a feel-good show that’s the perfect antidote to a bad hair day!

Patrick Downes

Art, Literature

Review: The Adventure Zone The Suffering Game by Sian Thomas

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5 Stars

The Adventure Zone: The Suffering Game is the newest release in the TAZ Graphic Novel series, a book series spun from their first iteration of the story, through playing DND for a podcast. I’ve loved this podcast since I first heard it, and it’s incredible to relive and re-experience the story with a fresh new look and some changes to the story after time has elapsed.

Suffering Game is the sixth book in the series of (what I think will be) seven total, and the sixth arc of seven in the podcast’s original storytelling. And though my softest spot is for TAZ: The Eleventh Hour (which is arc five), this is a close second. The ramping tension and upheaval of the stakes in this arc is fantastic, and I love how well it was put to paper in this novel.

The art and transition to paper that this arc takes is fantastic; the drawings and attention to detail is done to an exceptionally high standard, and the movement of the story into book form is really well done. That being said, there are some omissions in the book from the original podcast story, and some of them are moment that I miss greatly, but understand wholeheartedly why they were removed. A lot of it is to do with streamlining, naturally, and things like “trimming the fat”, but it was “the fat” that I liked the taste of best. There are things removed from the character’s arc that I understand – removing these aspects is fine since they technically don’t lead anywhere. They’re superficial aspects (character’s looks being sacrificed to the game, character backstory going unexplored) because, ultimately, they don’t serve any purpose in the finale or wider story. Which is fine. Except for, I miss them. But it is fine.

This story as a whole means a lot to me, I’ve always really enjoyed it, and I still do. I like it in both audio and visual form. The art by Carey Pietsch is fantastic (as it always has been), and the writing works brilliantly to invoke its origins, keep the pace, and make you laugh. Which it does!

It’s an excellent graphic novel – though maybe not as an entry to the series (would be hard to start a series at the penultimate!). Though I think that part of my five stars comes from nostalgia and old love for the material, I still think it deserves that ranking. It’s a great book, an easy read; the art is fantastic and it’s fun to look for the small details across every page.

Sian Thomas
Theatre

Review The Vicar of Dibley, Phoenix Theatre Company, ‘The Mix’ at Theatr Clwyd by N Pugh

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The BBC sitcom ‘The Vicar of Dibley’ is a representation of British comedy at its finest. They just don’t make comedy like it anymore so what a treat it was to find that the well known show had been adapted from screen to stage.

The Vicar of Dibley follows the journey of a confident female vicar with a huge personality, as she becomes the vicar of the church in a small, conservative village where her presence is not, at first, welcomed.

Walking into ‘The Mix’ at Theatr Clwyd, we were met with a simple set that was effective in supporting the cast to tell the story. Scenes moved between the Dibley Parish Hall, the church vestry and the Vicar’s living room. Particular effort had been made to ensure that each set was instantly recognisable, and certain aspects could be likened to the locations seen on our screens. Lighting was used effectively to complement the set. For example, the stained glass church window that was lit from the back to highlight its beauty, and the light that changed as the door to Geraldine Granger’s (Nicola Simonds) living room opened and closed.

A particularly nice touch was the invitation given to the audience to join in with the hymn during one of the church service scenes – song words were included at the back of the programme. This provided audience members with a well received, immersive experience. Unfortunately, the decision was made not to use microphones during this performance which did, at some points, hinder the flow of the dialogue. The volume of the laughter after some of the comedic lines meant that the next line was missed by the audience.

The casting of this production was excellent and it was evident that each cast member had studied their character, and their characteristics. Alice (Sara Griffiths) and Hugo (Luke Crofts) were particularly convincing- their on stage double act was hilarious and they were extremely well received by the audience. Owen (Ben Wheelhouse) and Frank (Eric Jones) were also instantly recognisable as the much loved characters that once graced our screens.

A huge congratulations to the cast and crew of this production. The team is small, but evidently mighty. My first experience of watching a Phoenix Theatre Company production and, God willing, it won’t be my last!

Music, Opera & classical

Review, Ukrainian Freedom Orchestra, Beethoven’s 9th Symphony, St Paul’s Cathedral by James Ellis

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out of 5 stars (5 / 5)

An orchestra must play as an act of defiance. Few would deny this upon seeing the Ukrainian Freedom Orchestra after their invasion from Russa back in 2022. The Songs for Ukraine Chorus are also made up one hundred and sixty singers, of those effected by the conflict. Prior to this all consuming concert at St Paul’s, a few speakers told of the importance of these musicians. Most telling, was General Valeriy Zaluzhny, UK Ambassador to Ukraine, who spoke of the utmost urgency of the events occurring in their home country. Having also followed other conflicts since, it really hit me hard just how impactful this has been to the world.

A fine opening with Bucha, Lacrimosa by Victoria Vita Polevá, which detailed the massacre Russia commit in spring of the year of invasion. With violinist Marko Komonko, this was deeply impactful…I was lost in the emotion the whole thing. Not dissimilar to Arvo Pärt and John Tavener, a feeling of the sacred minimalist took over the massive space. Terrifying metallic percussion stood out and possible electronics were a softer fiber in the overall orchestration. Komonko played stupendously. A gentle handling of the strings and their harmonics was another compelling element. Polevá took a bow at the end and proves she is a composer to watch out for.

Two hundred years have passed since the advent of Beethoven’s 9th Symphony, sometimes dubbed the ‘Choral’. Often used as a marker during times of conflict, this was particularly hefty with these players. Conductor Keri-Lynn Wilson graciously led all through the epic piece: its primordial opening, melodic pixelations, piercing melodic bite and earthy ruminations. The acoustics of the cathedral did frequently blur the focus, yet other times its vapours were highly rewarding. I’d say the last three movement had passages were the sound worked but other bars were like mush. We can leave that aside thanks to the context of the evening.

Also sung in Ukrainian, adding extra layers and personal touches. The four soloists Olga Bezsmertna, Natalia Kukhar, Valentyn Dytiuk and Andrii Kymach wowed with their respective sung momentum. Kymach in his baritone, may have been at the mercy of acoustics, though often delighted with a burr, you’d expect from the range. Olga Bezsmertna had a frequent smile on her face, lost in the music, soaring notes she fared very well in and constantly engaged with the audience. Natalia Kukhar as mezzo added to the pot, her time with Olga some sweet, touching remembrances. Tenor Valentyn Dytiuk, got a famous, cheery solo with an almost ommpa band styling, towards the end, a voice that you want to hear again. Of course, the recognisable Ode to Joy, left me highly moved and this crowd loved what they heard. The lady sat behind me also remarked about the acoustic, though stated the concert was “symbolic”.

An encore by Yuri Shevchenko: WE DO EXIST! was a paraphrase to the melody by M. Verbytskyi (National Anthem of Ukraine) for violin and strings. All stood for what we assumed was a more traditional take in the anthem, though this version was eerie and chilling. A concert for the history books.

Musical, Theatre

Review: Come from Away, Venue Cymru by Richard Evans

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Venue Cymru, Llandudno July 30th – Aug 4th 2024 and touring

out of 5 stars (5 / 5)

Irene Sankoff and David Hein

Smith & Brant Theatricals, Red Hanger, Gavin Kalin Productions, Tulchin Bartner Productions, Echo Lake Entertainment, Square Peg, Stephen and Paula Reynolds, Fiery Dragons, Judith Ann Abrams/Peter May, Nancy Gibbs, Curve Leicester

Come from away documents a remarkable experience.  As the tragedy of 9/11 unfolded and American airspace was closed, many planes had to make unscheduled landings in far flung places.  38 of them landed at Gander airport, Newfoundland.  

With a population of about 9000, the local community found themselves hosting 7000 unexpected incomers with a range of different languages, customs, medical and dietary needs.  There were also 19 animals including a pregnant bonobo ape.  This was a refugee scenario where the hosts were entirely unprepared.  The days that followed demonstrated the best in human qualities.  Food was drummed up, beds found, activities were organised such that lasting friendships were formed that have been sustained to this day.   

Would the stage be the best place to retell these events or would a film be better?  On the evidence of this performance, the energy and immediacy of the stage is a great platform and the cast exploited this story in excellent fashion.  It was a prime example of ensemble theatre, a close knit team working together in a fast moving, intense drama.  Actors do an outstanding job as they switch roles from hosts to incomers seamlessly and retell these events and their aftermath.  There is a great backing group playing a range of Irish-Canadian melodies to enhance the action. 

The individual stories invoke a range of emotions when you hear them.  Diane and Nick were on the same plane, met and the following year got married.  Hannah was worried for her son, a firefighter in Brooklyn yet was comforted by Beulah who also had a firefighting son.  It is in the minutiae that the poignant moments rest.  A moment when a Christian song, a Muslim chant and a Jewish incantation are heard as people pray, emphasising the importance of faith in coming to terms with life experience.  A scene where an older gentleman reveals to a Jewish rabbi that he had a hidden Jewish background dating from his early life in Poland.  Two people communicating through the use of Bible references to encourage each other when they had no shared language.   

The welcoming nature of this Canadian-Irish community is graphically shown in the ceilidh held one night.  It saw some visitors inducted as honorary Newfoundlanders through ‘screeching in’, drinking a shot of Irish whiskey and kissing a fish, a custom used to welcome new cast members to the show.  This to me is an enduring legacy of a must-see show, the power of community.  Had this town not been as tight nit and warm in its embrace, the experience of the incomers might have been quite different.  As it is, they felt an immense debt of gratitude but in attempting to express this, received a standard response, ‘It was nothing, anyone else would have done the same.’  It was not nothing, it was remarkable.  This makes the show a privilege to watch.