The Barbican is ablaze with a new musical offering. A Strange Loop remains an unforgettable encounter, leaving many fine images and tunes in the brain. The songs by Michael R. Jackson are packed into this show, no interval and no prisoners here. Our leading man Usher, is his namesake at the theatre putting on The Lion King. As a young, black, gay, overweight male, he tries to find his way through and writing musicals is his escape, his passion. Yet, can Usher make it as a musical master?
There is a lot going on in this show, many themes tackled and many relatable moments for a lot of different people. Usher is very sweet as a character, down trodden by his fellow gays, snobs, family and more. A wonderful ensemble of singers dubbed his ‘Thoughts’ loiter around the stage and fill him with insecurities. Said ensemble are just one of the many highlights of the show, I’m thinking back to the outrageous musical number where black figures from history come to haunt Usher: Maya Angelo, Harriet Tubman, James Baldwin, aside an embodiment of 12 Years A Slave, clutching an Oscar. The show does have many shocking moments, never shying away from sexual, racist and homophobic bursts that left us all upset.
Director Stephen Brackett has made a wonderful production, fabulous use of the stage. I’ve yet to recover from the head turning finale scenes featuring gospel, a 80s style sitcom and even a funeral. Amazing how honest we hear truths about the parental figures in this story, the lack of support for Usher as an artist and as a gay man. Some of these songs are so catchy that I cannot even sing them now due to the context within.
The show very much belongs to our Usher: Kyle Ramar Freeman. Hardy ever off stage and with great comic timing, I was taken so much with how endearing the role is. You need a great voice and even bigger theatrical presence, Kyle does all this and more with aplomb. His brings these truths out to the role, the exhausted, bottled up emotions exploding at the end were majestic. His turn as the gospel preacher was another sensation.
This was a surreal, outrageous thrill that needs to seen at once.
A Strange Loop continues at The Barbican till 9 Sept 2023.
Lyndsey Turner’s version of Arthur Miller’s masterpiece of 20th century theatre will not be underestimated. There is a striking use of lighting thanks to the talents of Tim Lutkin, who wants to expose these characters at every angle. The stage is often alight, a large screen above the stage mimics a Rothko abstract. Perhaps the most showy thrill of this hot shot show is the water feature. Rain treacles down the front of the stage, no doubt the first few rows were in the splash zone. Its gimmicky and it’s real meaning may be contested, but I have much praise for this production.
The soft ambient drones thanks to the work of Tintying Dong and Christopher Shutt are the ever present vain throughout. The girls of the village offer further effective vocalising passages to add to the exquisite broth, another acoustic thrill. The atmosphere is heightened thanks to this and the music of Caroline Shaw also adds to this remarkable story. The actors at the start remind us of the context of the play’s creation: Miller mirroring the Salem Witch Trials with the ongoing attack from Andrew McCarthy in the ever increasing anxiety about communism in American life. Miller weaves a fine tale, facts mingle with dynamite theatre, there is never any disrespect here. The show is therefore set in the time it was written to hammer this truth home.
The Crucible remains a fine example of how not to be in a community. Its is the indulging of gossip, conjecture and hatred for the fellow man that sees these events play out. Faith and delusion intermingle and the threat of the devil and his effect upon people. Yet who has seen what? Are they really servicing the devil himself? The play skillfully used old timey English language without being too archaic, we hear and understand these characters clearly.
A remarkable cast, stun in a list of names as long as the village. Too many to say, but Nick Fletcher does well as the annoying Reverend Samuel Parris who potter’s about lost in his own pomposity. Milly Alcock is a resounding Abigail, one of the girls accused of dancing naked in the woods. Many Irish and English accent float around though Milly’s give wonderful across the pond pipes and her convulsions were immeasurably disturbing. Brian Gleeson has a lap of honour as John Proctor. This saintly figure, who fights for his wife Elizabeth aside his problematic role with Abigial.
Elizabeth is Caitlin FitzGerald, the tall, blonde presence who was hardly involved in any of the witch implied antics. I love her resilience in the face of terror. Giles Corey was a grand Karl Johnson, who get good laughs and offers great insight. Reverend John Hale is Fisayo Akinade, the serious and effective role who on the quest for truth, finds horror instead, as many girls and women are tried for witchcraft with the sentence being hanging. My favourite role was Matthew Marsh as Deputy Governor Danforth. I was awash with goose bumps for the tense trial scene and Marsh is a jammy voiced, highly intimidating figure and simply gloria in the role. Also how the quest for truth, though still extremely biased. I’ll say sorry now for not going into all the great acting in this show.
Just go and see it.
The Crucible is at the Gielgud Theatre till 2 Sept 2023.
Based on the book by Thomas Meehan Music: Charles Strouse Lyrics: Martin Charnin Director: Nikolai Foster Choreographer: Nick Winston. Set and Costume Designer: Colin Richmond Reviewer: Barbara Michaels
Back on stage again, and touring after a highly successful London run, ‘Annie’ the musical, based on the book by Thomas Meehan and the popular comic strip Little Orphan Annie, the original Broadway production of Annie the musical, back in the Seventies, was an outstanding success, running for six years. Not surprising, really – the rags to riches story of eleven-year-old orphan Annie couldn’t fail to grab at the heart strings. The same is true now in this latest production, directed by Nikolai Foster. A musical with the heart-warming theme of a young girl living in an orphanage from which she is determined to escape and find her parents, never fails to be popular with audiences around the UK.
This time around, the darker side is given more prominence. Set in New York, in the Thirties, the time of the Great Depression when President Roosevelt and his cabinet were struggling to find a way through, set designer Colin Richmond uses random jigsaw pieces to emphasize the disjointed existence led by many – not least the orphans, of whom eleven-year-old Annie is the ringleader, under the tyrannical rule of the scary Miss Hannigan.
While the problems of the situation then can be seen to have relevance to our lives in the UK today, with the aftermath of the Pandemic, the lengthy prequel in the form of radio bulletins coming over speakers is overlong, given that the action speaks for itself. Nevertheless, this rejigged version scores, albeit much of it being carried on the shoulders of the highly watchable Craig Revel Horwood, segueing in high heels onto the stage of the Donald Gordon theatre for the second time – the last time was 2019 – in the role that he has made his own.
As the scheming harridan intent on looking after number one, Revel Horwood takes command of the stage, giving it welly with gusto in Easy Street in Act I, and proving yet again – as if we needed reminding -that judging Strictly is not by any means his only talent. Revel Horwood acts and dances with expertise; his timing is spot on. A true pro – although given n that this is the fifth production in which he has played the role, it is hardly surprising.
On opening night in Cardiff, the leading role of Annie was played by Zoe Akinyosade. A challenging role for any young aspiring actress, this young actress and singer ‘gets’ Annie, although there are times when she needs to guard against her voice becoming over shrill, this being exampled in her solo Tomorrow in Act II. There was a tendency for this to be the case with several of the young performers, compensated for by the verve with which they performed the energetic moves required by Nick Winston’s clever and innovative choreography.
The popular Alex Bourne, who played the role in the West End production, is a lovable Daddy Warbucks –the business tycoon who becomes an avuncular figure as he faces the challenges involved in becoming Annie’s adoptive Dad. The wistful Something Was Missing, sung by Warbucks and Annie in Act I and later reprised in Act II, scored Brownie points with this reviewer, while Paul French’s Rooster cuts the mustard on all fronts. Full marks to all the young performers for some superb dance moves.
As if performing with a posse of young actors wasn’t enough in itself, to challenge the adult performers, there is also a cuddly dog who trots back and forth obediently across the stage discreetly rewarded by the necessary treats.
Runs until Saturday July 8th at Wales Millennium Stadium
Back in 2018, four prime ministers ago, a new musical based on the music of Take That was born. It was called “The Band” and the BBC did the show “Let it Shine” to discover the next big boy band for it. They were called Five to Five.
Fast forward to 2023, Take That celebrate the 30th anniversary of their first number one Pray, and “The Band” becomes Greatest Days – The Official Take That Musical!
There has been another musical based on Take That – Never Forget – which by the way, premiered at Wales Millennium Centre in 2007!
So, to Greatest Days.
It’s Manchester 1992 and its based around five 16-year-old girls for who ‘the band’ is everything. They then reunite 25 years later, and you see how life has taken each girl down a different road.
Written by Tim Firth – who also penned Calendar Girls The musical with a certain Gary Barlow, its story is nostalgic and funny. The strength of a “Jukebox Musical” can sometimes be measured in how well it would stand without the music – Greatest Days does this so well. The nostalgia you feel could easily equate to how your own life has panned out in the last thirty-one years. There’s a warmth to each character, and something familiar that feels real.
Production wise it’s brilliant.
The “band” – well put together, but as I’ve previously said, their performances don’t drive the story forward. They provide the backing track, but the main story is carried by the performances of the main ensemble – the young and current versions of each. Going back to what I said about the warmth in each character, each performance was flawless. Sometimes with touring musicals, it’s about the one person being in it, granted Kym Marsh’s Rachel is fab, but each person took you on their own journey of nostalgia. There wasn’t one stand out moment – the story and performers are the stand outs of Greatest Days.
Back in 2018 when I reviewed “The Band” I did something a little bit cheesy and included some Take That song titles in recommending this musical.
But you’d wait for life for that. Okay Babe, are you happy now I found heaven? I might just end up all night, and then never forget to do this review pray-sing The Band. You do what you like, I’d love to hold up a light and come back for good to see this again! Patience, then you’ll rule the world.
In what might be the most interesting venue in which to attend a concert in 2023, Bristol Opera had a big old bash for their 100th birthday. They couldn’t believe their luck, a century of activity establishing themselves as the go to opera makers in the city. They haven’t shyed away from working with big composer, nor large scale pieces either. I’m ashamed to say this is my first venture with them. I can feel the passion, the good vibes and of course the love of all the music they embrace.
Curiously, we got to mingle around the Concorde Museum in Filton, seeing inside the inconic plane and bits and pieces behind glass. With the smell of the diesel still in the air, Bristol Opera showed of their best. It was a tour of the past hundred years, looking back at past productions, starting with their first: The Snow Maiden by Rimsky-Korsakov. In the marvellous Prologue we got a glimmer of the Russian master’s cleverness. Clare Daly as the Wood Sprite gave a brief solo, showing promise.
There was a lot of expected things: Carmen, Aida, Lakme and more. The fact they took on Verdi’s Don Carlos is impressive. The chorus clearly practice feverishly and produce a sweet sound of note, getting many numbers for them to sing here. The orchestra also have many great moments, the venue helping the sound along. Sophie Kirk-Harris faired well with her O mio babbino caro from Gianni Schicci. Ever the touching aria, Sophie found a good fitting in it. The Flower Duet from Ethel-Jane Cormack and Heather Holmes added a perfumed aura to the night, a very popular work that is never easy to do. Louise Geller as Olympia for her Doll’s Song from Offenbach’s Tales of Hoffman. Her voice was subtle in the French, she had fun and seemed to know it well.
For the celebration, a new opera was created. Fish by Joel M. Baldwin tells the story of Anne Harriet Fish, a Bristol born artist who’s art got into the crème of top fashion papers. Very much saturated in 1920s flapper culture, her elongated figures brim with whimsy. The opera sees her dream of characters she has created and historical figures who’s writing she could utilize for new art. In a second more sombre scene, the mood is a bathroom where Anne recounts her salad days, years after the first scene is haunted by ghosts of the past in a steamed up mirror. She falls and hits the taps in her tub and is no more.
This curious piece had a lot of potential and worked well. Its eccentric nature matched that of Anne’s own quirkyness. A fine quartet of singers brought out great things. Rebecca Chellappah as Anne was a great success, these new, bold piece she seems to take on with gusto. Fine singing as ever, previous reviews have said the same as well. Andrew Shore, an opera legend and past performer for Bristol Opera played Anne’s husband Walter and also Persian polymath Omar Khayyám. Shore has still got it, his baritone remains a real feast, his Wagner and Rossini also noteworthy.
Sophie Kirk-Harris was back and played both Eve and Lady Carstairs, characters rom Anne’s art who delight and haunt her in equal measure. Sharp voice and good presence showed Sophie as another talent. Guy Withers is a familiar face playing Edward Fitzgerald, translator of Omar’s classics. A jolly tenor, who I found endearing, Edward finished the cast of singers with aplomb.
Conductors Arne Kovac and William Stevens kept face for the classics and this premiere, easily accustomed to conducting duties with flair. Other highlights were Shore doing Doctor Bartello’s manic breakfast aria from Barber of Seville and the surreal turn in the finale: The Toreador Song from Carmen. Rebecca gave us Mon Coeue from Samson and Delia. I couldn’t have asked for anything more.
I’ll have to come and see future work now.
Bristol Opera perform in Feb 2024 with The Merry Wives of Windsor by Otto Nicolai.
Very much well done to the music students at the Guildhall for a curious double bill evening at the opera. Holst’s Sāvitri is taken from the Indian epic the Mahābhārata and looks at love beating death, a theme seen in opera for zonks. It’s a very English affair, Holst has little time for any commitment to traditional Indian music, unlike later English ones like Sir John Tavener.
There is Wagner and Richard Strauss to be heard, but it is the tea and cricket heritage that rings out. Lorna McLea is a resounding Sāvitri, Steven van Derek Linden her partner Satyavān also strong with death just in his door step, vocals which proves promise. As baddie, Death is played by Jacob Harrison, intimidating in delivery and statue, though his kryptonite being love over death foils his plans over our super woman. The real nice touch is a vocalising ladies chorus which suggested an exotic nature, a fad heard in other Indian inspired music of the era.
A much stranger second work by Judith Weir followed. We just heard her new work at the Coronation and I had the pleasure of meeting her last year, her friendly and passion for music making never wains. In Blond Eckbert based on the story but Ludwig Tieck, we get an absorbing and nasty piece. Dubbec a “pocket version” of the opera, the whole endeavour was weird and wonderful. The story became more of an oddity, the woods and fate being major themes and visuals. The Bird is Louisa Stirland, a narrator who tells the tale she has been enamoured in for years, high, vocals and irregular movement. Feeling like quite a demanding role, she makes it look easy.
Eckbert is Emyr Lloyd Jones a role filled with regrets and anxiety. Well placed here, he maintains the tension needed and has power to it all. Berthe, his wife is Rachel Roper who might be the most fascinating character, the plot vastly surrounding her circumstance. Her recounting of her abusive youth and espace was well poised. Jonah Halton as Walther holds a lot of the story in his hands, there are spoilers here for those curious. With his slight build and thick moustache, all is not what it seems and his tone is terrific. The reveal concerning his characters is quite shocking also disturbing. The score as well has loads of suspense and quirky, flavourful orchestral writing.
The Great Gatsby is an immersive performance that truly takes us back in time to the rip-roaring 1920s and is made exquisitely unique by taking place in the derelict Dolphin Pub, within Mold itself. From the moment you book your tickets at ‘Gatsby’s Drugstore’ you know you are in for a real treat.
Photo Credits Sam Taylor
Upon arrival, you are welcomed to the party and when you enter the venue, you feel as though you have stepped from the 2020s, over a magical threshold and back into the 1920s. Warmly greeted by music and the characters, who are already singing, playing the piano and coming round welcoming you to the party! Casually chatting, introducing themselves, all with a drink in hand and a smile on their face. This interaction was wonderful and I loved chatting with Carroway, George, even being offered to be looked after by Gatsby himself, during the interval. It was unique and thrilling, adding to the immersive element and making you feel as though you were surrounded by the story.
Theatr Clwyd invites you to the best roaring 1920s party ever and they are certainly not wrong! We are instantly immersed into another way of life and are taken on a journey that makes us pine for an era long gone. Seeing the forbidden love story between Daisy and Gatsby unfold, through the eyes of Carroway, there is plenty of fun, dancing and singing to be had. But behind the glitz and the glamour, we see that there are cracks and the problems that we experience today were the same then; cheating, lying, falling in love with the wrong person at the wrong time. The second half builds the tension and culminates in the dramatic conclusion that F. Scott Fitzgerald intended of his Great Gatsby tale.
The cast are simply magical, from Hammett, playing the most likeable Carroway I have ever seen, leading us through the story, introducing us to his cousin Daisy, played delightfully by Bethan Rose Young, her beguiling husband Tom (Troy Marcus Richards), the vivacious Ms Baker (played perfectly by Seren Vickers) and the charming Gatsby himself (Richard McIver’s captivating performance, hitting peak levels of suave).
Hammett is word perfect, despite his lengthy dialogue, and utterly delightful in the role, charming the audience, almost as much, but not quite, as Gatsby himself. McIver is sophistication itself, with his immaculate costumes, piercing eyes and facial expressions, and his interaction with Young. Together, they are mesmerising as Gatsby and Daisy, their delightful chemistry perfecting the romance that we all yearn for. Making it all the moreheart-breaking when Gatsby is revealed to have told a few untruths of his own. Young does not just play Daisy, she is Daisy, delivering her lines in the most achingly beautiful and emotive manner, my heart almost shattered when she uttered ‘I’m glad it’s a girl. And I hope she’ll be a fool – that’s the best thing a girl can be in this world, a beautiful little fool’. A special mention too for Bevan and Blainey, who play husband and wife, George and Myrtle, who are key characters in the story. They are a constant and hold the link between the audience and the rest of the cast perfectly, whilst singing, dancing and playing the piano delightfully. Each and every one of the cast gave their all and embodied their characters, increasing the intensity of the immersive nature of the evening.
The set is simple, the derelict pub is obviously, well derelict, with its exposed brick, however, it is dressed up and completely altered, very cleverly, with drapes, a couple of pianos and superb lighting. It is instantly believable that you are in a dance hall one minute, the boudoir the next, or helping Daisy make life changing decisions in her bedroom the moment after. Whilst the action takes place over three floors, there is no obligation and accessibility is kept in mind throughout, with no fixed seating, but chairs dotted around and theatre staff on hand to assist. There are also performances to choose from that are signed and audio described, along with touch tours. There is no need to be nervous of the interaction, it was a perfect balance of being involved, but not putting anyone into an uncomfortable situation.
1920 dress code is encouraged, but not a must, pop on your pearls and dancing shoes, grab a prohibition cocktail from the bar and be ready to meet the Great Mr Gatsby himself and have a sublime evening, one that will stay with you for a very long time to come. The most refreshing and fun theatre performance I’ve witnessed (and been part of!) and I left feeling like I had truly experienced one of Gatsby’s decadent and extravagant parties!
The Dolphin Pub, Mold
Wed 28 Jun – Sun 27 Aug 2023
Authors: Director: Amie Burns Walker Associate Director: Fiona Kingwill Set and Costume Designer: Heledd Rees Assistant Director: Juliette Manon Choreographer: Holly Beasley-Garrigan Casting Director: Polly Jerrold Musical Director – Alex Wingfield Accent and Dialect Coach: Mary Howland Lighting Designer: Rachel Sampley Safeguarding, Inclusion and Consent Consultant: Bayley Turner Sound Designer: Phil Grainger Wigs, Hair and Make up: Noah Ehrhardt Fight Director: Lucky 13 Action Cast: Siobhan Bevan – Myrtle Huw Blainey – George Jack Hammett – Nick Richard McIver – Gatsby Troy Marcus Richards – Tom Seren Vickers – Jordan Bethan Rose Young – Daisy
Running time: Approximately 2 hours and 30 mins (including 10-15 minute interval).
It’s a joy to watch these live streams all the way from California. San Francisco Opera are celebrating their 100th birthday in a big way. New opera from John Adams and a return to old productions have seen this celebration brought anew.
Not seen for 30 years, their take on Richard Strauss’ Die frau ohne Schatten or The Woman Without A Shadow has still got it. There are still some problematic aspects that are baked into the opera, some might say it was an anti-abortion piece and seeing white people clump about in middle eastern costumes (quite possibly Turkey and further into India) does not fare well in todays climate. Having said this, Roy Rallo as director has taken this strange, exquisite opera and made it work very well. David Hockney’s staging is vivid, over the top and immensely colourful. The costumes of Ian Falconer evoke vintage productions and also have an outrageous quality about them.
This fairly tale opera is hefty, the libretto of Hugo von Hofmannsthal harks back to old German stories and Goethe quite effectively. Strauss’s score is a revelation, one of my favourites of his, now finally hearing it. Ever pushing boundaries, there is also jazz, wild waltzes, piercing modernism, mimicking of a falcon and other delights. Even a glass harmonica features for a slight few bars in a decisive moment in the final act. What could feel quite demanding is essentially a story a out love, aspiration, fate and loyalty. It remains captivating.
In the cast there were no slip ups. Linda Watson gives great theatrical dame as The Nurse, a cunning role and the make up is almost drag like in appearance. Her voice is rich and perfect for this part. David Butt Philip as The Emperor handles the high notes well, in this briefer role, the ladies very much reign supreme here. Camilla Nylund as The Emperess might be my favourite voice of the night, the woman without a shadow in question on the quest for one. Her stratospheric heights in the third act were hair raising and her presence throughout was touching and absorbing.
A magnetic turn from Nina Stemme as Barak’s Wife, the dyer, whom the Empresser yearns for her shadow in order to save The Emperor from turning to stone. Stemme is electrifying in everything she does and here is no different. Her commanding vocal is emboldened in solos and soaring in ensemble moments. Barak himself, is John Reuter, world weary and tired of the hardships of life and his distant wife. Gruff and frustrated, it another awesome role with dramatic vocal parts for the only character in the whole opera with an actual name.
The supporting troupe of dancers, children’s choir and on stage musicians also wowed in this hefty opera that needs a lot more love.
Its runs till 28th June 2023
The next live stream from San Franciso Opera is El último sueño de Frida y Diego on 22 June and is available for 48 hours from 10am PST.
My last night in London wrapped up with a a fairly noteworthy event at the Southbank. Warm up act Low Island were fairly rocky, English sounding. I found them attentive if not really attention grabbing. Loud, proud rock which was not really my thing. Amazing how dim the Queen Elizabeth Hall foyer was even with the sun beaming through.
The wonderfull named Orlando Tobias Edward Higginbottom is better known by his DJ moniker Totally Enormous Extinct Dinosaurs. There are some great, thumping tunes here. I knew him best for Trouble, which recall getting as a YouTube advert back in the day. He tracks sure know how to get a place dancing, we were lost in his groovy, funk house beats. Nice to near Orlando sing live as well, a huge plus in my books. He’s cleverly chosen to not wear a first nation’s head gear anymore as well. Other songs were recognisable, easily heard on the dance floor and it remained a great set.
We bid farewell to Sir Simon Rattle as the London Symphony Orchestra’s Music Director. Of course, he’ll be back to do more concert in the autumn. His swansong were two evenings of the same programme, one which will not be forgotten in a hurry.
A world premiere from Betsy Jolas continues to improve her twilight success. At the age of 96, I even had the pleasure to meet her last year (I’veonly just discovered she knew James Joyce). She has lead a fascinating life, never quite clamping onto any of the fierce Male dominated experimental musical cults. Rattle has put the spotlight on Besty these last few years, though she has said that ‘Ces belles années…’ will be her last symphonic work. Translated as ‘Those good years…’ this has the composer looking back at wonderful summers filled with music, her love of the Aix-en-Provence Festival unwavering. The work is strange, theatrical with the musicians clapping, whispering and stomping. Happy Birthday is quoted and a modulating form hits the ear. Soprano Faustine de Monés arrives on stage during the piece and comically waves at the orchestra, most of which wave back. The use of staged directions makes Besty’s work stand out and Faustine sang with affectionate love for these bygone days. Its was all very touching and amusing.
Photos creidt: Mark Allen
Following on with the big guns, Messiaen’s Turangalîla-Symphonie remains Rattle’s show piece. This is a work I fell in love with some years ago. It remain the chattering, clamoring joy of the piece that stands out. Quasi-romance and galactic musing are super imposed with Indian and Greek music with devastating effect. Strangely based upon the Celtic myth of Tristan and Isolde, it’s a loud, unwavering avalanche, thanks to Rattle who kept the mass of instruments on stage in check. His joy in playing came through, Peter Donohoe in the piano solo is a head spinning sight and the demands he met with grace and agility. Cynthia Miller playing the ondes Martenot adds the ethereal sound to proceedings, you might mistake for a theremin. Her aura adds wonderfully to the exotic pot, though her passion is inward, the instrument being a small, early synth from France. Though she was surrounded by the speakers which pipe out the generous sounds of the ondes.
I’ve haven’t heard the piece live for nearly ten years, though it loses little impact. I saw some people in the audience with their mouths open in shock or disbelief. The lady sat next to met knew not of the piece and amazed when it was over. Much love to the players of the virbraphone, keyed glockenspiel and celeste who all featured at the front, behind Donohoe. I heard their colours well thanks for being sat near to them, the battery of percussion is also noteworthy for their bravado and skill. All the players deserves credit here, I’ll give them that. What a thrill to was to hear this with Rattle agian. I found my whole body shaking and tears abound, in the all consuming nature of Messiaen music.
This will be a concert I’ll cherish forever.
This concert will be aired for future broadcast on Marquee TV & Mezzo.
The concert will also be aired for future broadcast on BBC Radio 3.
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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