(4 / 5)

When I think of Shakespeare, the words that spring to mind are ‘funny, ‘witty’, ‘sharp dialogue’, ‘a roller-coaster journey’ and 440 Theatre certainly deliver on all of those and add a sprinkle of magic in their own unique and charismatic way.

Shakespeare is wonderful, but sometimes it can drag out a tad, with plays commonly being three hours or so. No so with 440 Theatre! They have taken something brilliant and offer the audience the highlights, with each play being just 40 (ish) minutes. Two Shakespeare plays and an interval for your ice cream in under two hours? Done and dusted!

A simple set, costumes and small cast of just four actors (Luke Thornton, Amy Roberts, Lizzie Robin and marvellously acted and directed by Dom Gee-Burch) brought us this, quite frankly, unique but highly effective take on the two well known plays. There was singing and guitar playing (a special mention to Roberts for her incredible voice and Thornton for bringing comedy gold to the songs), an abundance of wigs, a very clever use of umbrellas and gags-a-plenty, to make sure that the laughter didn’t stop. Gee-Burch was stand out in his various roles, never failing to be deliver hilarity, whether playing the friar, nurse or any one of the three weird sisters. His presence lit up the stage and he truly stole the show. His comedic genius shone through, and his timing was impeccable. Every single one of the actors gave their all and must have been exhausted by the end after maintaining such high energy and not faltering throughout.

First up, the tale of two star-crossed lovers, Romeo and Juliet; never was a story of more woe (and hilarity, true farce and an interesting case of rigor mortis!) and who knew it was all Pat’s fault? Pat, the character Shakespeare forgot to mention (you’ll need to go along and watch 440 Theatre to see how that story unfolds).

Swiftly followed by Macbeth – very obviously the Scottish play thanks to the tartan sashes, wigs and a hint of Taggart (‘there’s been a murrrrder!’). Brilliantly acted, traitorous goings on, dancing ghosts and full of farce. I particularly enjoyed the nod to the Tesco clubcard savings. Again, Gee-Burch shone in his many parts, particularly as the three weird sisters. Thornton’s reactions to them certainly demonstrated how the natural talent of Gee-Burch continually surprises and delights, even to his fellow actors along with the audience.

This is a surprising re-telling of Shakespeare that I recommend you experience for yourself. It is full of surprising comedy moments to catch you off guard and while that was mostly really good fun, it could be a little jarring if slapstick humour is not your particular cup of poison. Watch out for each death scene being milked to the absolute, well, death!

This is an exceptionally special, hilarious, speedy tour of two of Shakespeare’s arguably greatest plays. High energy and thoroughly good fun, a must see if you love the Bard (and especially if you yearn for slightly shorter renditions of the world’s greatest literary works).

Running time: Approximately 2 hours (including 15-20 minute interval).

(3 / 5)

(Please note this review features an overview of the productions plot)

Choo Choo is a play that is said to give ‘an entertaining exploration’ about Obsessive Compulsive Disorder, intrusive thoughts and ableism. It is a collaboration between Nye Russell- Thompson (writer and performer), Nerida Bradley (writer and director), and is co-written by Duncan Hallis (also performer) and Tafsila Khan (also assistant director).

Before the play, you could hear owls hooting and snoring, you could see a character seemingly sleeping stage right (Laura Goulden, one of the BSL interpreters, I found out later), a yellow chair and a red chair on either side of a small table in the middle, a small radio on top, and some cubed lights in the background- the amount of lights not evenly shown so perhaps this could give us a sense of uncomfortability from the start.

The start of the play saw two characters (Nye and Duncan, one dressed in a yellow top and red dungarees and the other dressed in a blue top and yellow dungarees) come on, yawn, and start their wake-up song. There was a lot of comedy in this play, even from the start, and the characters seemed a bit childlike, although they lived together and they discussed darker themes of intrusive thoughts, being that the basis of the play was Nye’s character was getting thoughts about killing his best friend. There was repetition in their daily routines and rhyme in the song, and they played games with each other all day, from the radio. On the other hand, there was also a lot of darker, adult themes with pregnancy, dying, violence, game/ talk shows (that included audience participation!) and more.
The story saw them going through the day, playing games, Nye getting intrusive thoughts, singing the same song the following day but Nye doesn’t feel as happy as normal because of the intrusive thoughts he had last night. Then playing a game as a talk show getting requests from listeners/ audience members, and Nye gave a request to Duncan disguised as an audience member, to explain his intrusive thoughts and what should he do about it. With Duncan then replying saying he was a bad person and he should feel guilty etc, which made Nye feel even worse.

There is radio static at home before they go to bed, of Nye hearing a train get louder and the lights getting brighter, before the new day, which is the day that they are supposed to go on holiday together. Nye doesn’t want to come (he has been trying to isolate himself because he doesn’t want to do anything to hurt Duncan) and so Duncan goes to the train station (for the holiday) by himself, and the train is delayed. The Transport for Wales announcement tells him about intrusive thoughts and OCD, and how his friend is feeling, and then Nye appears at the station. Nye and Duncan hold onto each other over the platform edge, as Duncan is reassuring him that Nye won’t hurt him. They end the show by demonstrating how intrusive thoughts are okay to have, and you shouldn’t be scared of them making you be a bad person, because they are just thoughts, and we are not our thoughts. This is shown through them saying an intrusive thought, like putting the iron over your hand, pushing someone over the edge of the train platform, and the audience would clap if they had ever had that thought.

I enjoyed that there was a lot of comedy in the show and it was light-hearted when Nye wasn’t worrying about hurting his friend, but I didn’t see how it was about ableism and linking to OCD. He was starting to isolate himself, not leave the house, and I can see how intrusive thoughts link to OCD, about how people with OCD can think that they have to do certain things otherwise bad things will happen to people they love, but I don’t see where that fits in, in the show. It had promising writing, but the themes weren’t hard hitting in my opinion, as compared to the other shows I have seen and reviewed were I felt affected and emotional coming out of it.

(5 / 5)

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).