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Film & TV

Review, The Guest, BBC, by Gareth Williams

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out of 5 stars (4 / 5)

The Guest is the latest drama to be set in Wales but, for once, it’s not made by a Welsh production company. Quay Street Productions, based in Manchester, are building a nice portfolio of original content with a UK focus. And after the success of Men Up, this four-part series underlines their serious intent towards authenticity. There are no stereotypes or caricatures here, though the class divide between protagonists Fran (Eve Myles) and Ria (Gabrielle Creevy) is clear. It feeds into what is a dark and mysterious thriller, full of intrigue and surprise twists, with their fascinating relationship at its centre.

Both Myles and Creevy come with a strong pedigree. Cast together as opposites here makes for a wonderfully dynamic relationship. Ria is both vulnerable yet strong-willed; Fran coercive yet sympathetic. Both actors bring their penchant for multilayered expression to present not only complex selves but a lively partnership that adds much to the emotional suspense. The discourse on power, particularly in relation to class and wealth, is cleverly woven into their respective characters which forgives a far more blatant set-up. The opening scenes, consisting of dichotomies as obvious as urban/rural, private/social, and new/old, contrasting sharply with the three-dimensional friendship that develops between the two.

This is perhaps why the ending feels unsatisfactory. Tying up the loose end a bit too neatly and nicely after a series of simmering and pulsating encounters. Not that the journey to this point isn’t worth it. It’s exciting and shocking enough to go along for the ride. The risk being that the more thrills the audience gets, the more expectation is placed on its final delivery. Hence the disappointment of a rather fairytale ending. Belying the enthralling nature of the moral conflicts and paradoxical actions that come before.

Despite the frayed bookends to this series, The Guest is a highly enjoyable watch. Made so by the enrapturing performances of its female leads. They carry a twisting and telling narrative successfully through to an albeit inferior conclusion. Nevertheless, it is gripping. Showcasing Wales in an implicit light, for which Quay Street should be commended.

Click here to watch the series on BBC iPlayer.

Reviewed by Gareth Williams
Musical, Opera & classical

Candide, WNO a review by Eva Marloes

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out of 5 stars (3 / 5)

The Welsh National Opera know how to put on a show. On opening night, Cardiff’s public enjoyed Candide by Leonard Bernstein. It’s a light musical, more than an operetta, done in a cheeky tone. The WNO enthralls the public with colour, wit, and excellent performances from all the cast. Of note are also the choreography by Ewan Jones, the imaginative use of light by Rob Casey, to create animations and guide the story, and Nathalie Pallandre’s costumes, where the eighteenth century meets and crashes with the late twentieth century.

The singing by all members of the cast is excellent. Soraya Mafi stands out with a powerful voice and delightful timbre. Excellent is also Amy Payne as The Old Woman, delivering a funny and skillful performance, and Ed Lyon is an impeccable Candide. 

WNO Candide Ed Lyon Candide Amy J Payne The Old Woman Soraya Mafi Cunégonde photo credit Craig Fuller

Alas, Bernstein’s Candide lacks the satire and depth of Voltaire’s original novella. It’s a picaresque pastiche with no subtleties. The good mise en scène, creative costumes, and excellent performances cannot compensate for the lack of substance of this musical. There is no variation in tone in the music or the story. There is no emotional arch, and the cheeky jokes become irksome after a short while. 

The two-dimensional cartoon created by the light animation emphasises unwittingly the lack of depth of the show. Although effective in conveying the comedy in the beginning, the two-dimensional drawings keep the scene flat. As a result, there is little variety in the perspective on stage, just as there is no change in tone in the music. 

There is no escape from a mediocre score and shallow libretto, light years away from the subtle and biting satire of Voltaire, but also from Bernstein’s West Side Story. Yet, people loved it. It’s a bit of fun on a rainy night in what feels like an abrupt autumn.

At a time when culture is under attack, when theft of artistic work has effectively been legalised to make AI viable, one can’t help longing for the amazing productions of Janáček that the WNO gave us in the past. One can’t help yearn for the WNO doing operas to convey the truth of the human condition. 

WNO Candide cast of Candide photo credit Craig Fuller

Theatre

Review An Orange In The Subway, The Other Room/The Wallich by Millie Pinkstone 

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Photo Credits Kirsten McTernan

Despite being bombarded by borderline torrential rain and aggressive gusts of wind, The Other Room’s production of “An Orange In The Subway” certainly wasn’t dampened by the bad weather. With an outstanding leading performance from Mica Williams, the play raised important questions about homelessness and whether or not there truly is some other-wordly being watching out for us. 

The play follows Cassie (Williams), a homeless young woman who is convinced she has a guardian angel- she keeps being left oranges in the subway. Accompanied by the incredibly talented Osian Lloyd and François Pandolfo, who had mastered multirole, the trio didn’t let the weather or the subject matter stop them from delivering a moving interpretation of the play and its characters. Williams’ talent for handling dark, gritty emotions really shined in this role- at some points you could forget that she wasn’t really Cassie and that her sharp defensiveness was merely acting. During her reunion with one of Lloyd’s characters, known only as The Banker, you could feel the desperation in her voice as she asked him all of the questions she was dying to know the answers to. With both the start and end of the performance featuring Cassie and The Banker, the small detail illustrated the never-ending cycle that is life on the streets. Additionally, Lloyd and Pandolfo’s distinction between their multitude of characters was commendable, with a particular highlight being Pandolfo’s portrayal of the all-too-realistic drunk girl. 

One of the most interesting characteristics of this production was the outdoor setting- Mackenzie Park’s trees arching overhead provided a serene, secluded backdrop for the play. Upon entry, we were given the option between sitting on tarp or cardboard- no matter what option you chose, you were only ever about two meters away from the actors and the show, which heightened the authenticity and conveyed the messages of the performance. As we were all on the same level as the stage, it was easy to immerse yourself in the show, with the actors even coming into the audience and breaking the fourth wall at some points.  

If anything, the dismal weather conditions added to the drama of the performance. The inner English student in me wanted to point out the pathetic fallacy in the climate- during the most intense moments, the rain seemed to get heavier, the temperature seemed to drop by a few degrees, and the wind pelted my umbrella (which I was very grateful for). The lighting choices- made by lighting designer Katy Morison- further set the scene, with warm oranges flooding the performance space from below, and light blues occasionally tinting the scene.  

Even though I ended up getting absolutely drenched, I left Cardiff that night with a million thoughts swirling around my head regarding the performance- all positive. It certainly wasn’t an experience I’m going to forget any time soon.

Theatre

Review An Orange in the Subway, written by Owen Thomas and directed by Dan Jones by Catrin Herbert

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Photo Credit Kirsten McTernan

It is not often that a play invites you into the performance space itself, but An Orange in the Subway achieves exactly that. The production was staged in Cardiff at Mackenzie Park, where the wooded area was transformed into the stage. This performance unfolded on the same level as the audience, placing us directly alongside the characters and blurring the line between stage and reality. Additionally, the performance was both intimate and atmospheric, making us witnesses to Cassie’s story.

At the heart of the storyline is Cassie, portrayed with depth and spirit by Mica Williams. Cassie is a woman navigating through the harsh struggles of homelessness, caught between survival on the streets and wrestling with questions of spirituality and her guardian angel. Mica Williams brings out Cassie’s sharp-edged defensiveness to protect herself and her raw vulnerability grappling with fear, guilt, and the feeling of being forgotten, making the duality of her performance absorbing.

The production also made wonderful use of multi-rolling, with actors transforming fluidly into different characters, each new encounter standing for a reflection of society, some people judgmental, others kind, and all of them shaping Cassie’s understanding of how people view her place in society. The characters who passed through her life clarified the reality that homelessness is an embedded part of everyday life and that her struggle was a product of the same community that surrounded her. By the end of the performance, her reconciliation with her friend, The Banker, felt deeply earned, a moment of peace that closed the story of her journey.

What uplifted the performance further was its design; the use of the props in so many creative ways allowed the wooded space itself to become part of the storytelling. This included the lighting choices, created by Lighting Designer – Katy Morison, which used oranges and cool blues to shape the atmosphere; the gentle music, by Composer – Tic Ashfield, played a vital role in welcoming us into the space; and the sound effects, which deepened scenes, created atmosphere, and grounded the audience into a believable world.

At its core, An Orange in the Subway is about how people grasp onto signs of hope, even in the darkest circumstances, and trust that something spiritual might take place to carry them through those moments of misfortune and hardship. This matter was embedded through Cassie’s journey, from her desperate search to find her guardian angel, to her concluding moments of reconciliation and peace. This performance shines a light on the overlooked struggles of homelessness while highlighting resilience, forgiveness, and the human connections that carry humanity through life. Owen Thomas’s writing, the production team’s vision, Mica Williams, Osain Lloyd, and François Pandolfo created an experience that I believe was thought-provoking, moving, and one that I can proudly say that lingers after the final moment.

You can find out more about the production and book tickets here

Theatre

Review ‘An Orange in the Subway’ The Other Room, in collaboration with The Wallich by Katie Berrisford.

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All Photo Credits Kirsten McTernan

A cold and windy night was the perfect setting for The Other Room’s newest co-production ‘An Orange in the Subway’. Performed outside in Mackenzie Park, in collaboration with The Wallich. The show really brought in all the senses as the audience sat on the ground, watching the actors as they deftly performed Owen Thomas’ story.

The performances were incredibly impressive. Mica Williams’ Cassie was our focus and hardly had a moment to breath in a very intense hour of performance. The desperation, confusion and loneliness of the character shone, and Williams’ physicality added to the creation of the world we joined. François Pandolfo’s multi-rolling, added layers to the story and the different characters he can create are always impressive. Ranging from the recognisable to the absurd, we glimpsed the breadth of those that form Cassie’s world of Cardiff- a particular highlight was the very drunk girl we could all recognise. Osian Lloyd’s performance was a stand out for me, I was so impressed with the nuance and differences between the characters portrayed. The Bankers’ opening lines immediately drew us in and the shifting between worlds and characters throughout kept you engaged and part of it.

This was hugely helped by the setting, and kudos needs to go to Katy Morison’s lighting and Tic Ashfields sound. Both made you aware what you were seeing was a performance, but heightened the action and created the world of angels as well as embracing the natural world and darker nights we are heading into.

Whilst there were so many positives, the show has made me question my expectations around art for arts sakes and the responsibilities of showing a topic such as homelessness. If the show wasn’t in collaboration with The Wallich, I would be tempted to find some of the characters as closer to stereotypes rather than full humanity. Owen Thomas’ verse was hard to immediately grasp, moving us from feeling the show was made from a point of truth.

The strongest moment of the play I felt was Cassie sharing with the statue of Nye Bev that she’d tried the support out there, but all the rules and curfews were too much. This was a great insight into the complex struggles that exist between the help that is out there and the people most in need, as well as the power of autonomy. I expected to see more about what help does exist and the next steps for the characters, but then that might have felt kitsch and shoved in, when for so many people there might not be a happy ending.

Leaving, I struggled to decide what the outcome of the piece was. Now, not all theatre needs a call to action or an objective I know, but especially when it was so based in rough sleeping not just in subject but in setting, I was expecting to leave and feel something. Some sort of next step or understanding of the struggles people face and an idea of what may help.

Music

Review: That’ll be the Day, Venue Cymru, Llandudno by Richard Evans

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Venue Cymru, Llandudno, Sept 12 and touring

out of 5 stars (4.5 / 5)

T C Productions Ltd

This performance is part of the 40th anniversary tour of ‘That’ll be the day’ and labelled as the farewell tour of Trevor Payne.  Would this be indulgent nostalgia or a more vital performance that loyal fans are used to?  Most certainly it was the latter with a few reminiscences thrown in for good measure.  

The show starts with a medley of rock ’n’ roll numbers such as ‘Oh Boy’ and ‘Rock around the clock’ and before the interval there is a large focus on sixties music with a range of artists represented including the Beatles, the Beach Boys and Frankie Valli and the Four Seasons.  Each of the main performers take their turn in singing that song best suited to their voice.  For me, the vocals of Nikki Renee Hechavarria were outstanding but there were no weaknesses in the line up.  The songs tended to be of a type, upbeat, optimistic, sing-a-long and all came from the charts.  Would it be too much to ask for something more raunchy like ‘The Who’, or for a protest song from Bob Dylan?

The backing musicians were excellent.  They were on stage for the vast majority of the show, playing a range of different styles and providing backing vocals for countless shows.  Along with the sound and lighting crew these would be the unsung heroes of the show.  There was a nice moment when Ollie Grey was handed the original Fender Stratocaster played by Trevor when the show first started, long before Ollie was able to pick one up.  

The show is more than a musical review.  Songs are interspersed with small comic videos and comedy routines.  There is great repartee between Trevor, who writes, produces and directs the show and Gary Anderson.  The jokes are often suggestive, much in line with ‘Carry On’ film humour which is highly appropriate given the origins of the show are in holiday camp theatres in places like Minehead and Bognor Regis. There are also sections were performers impersonate popstars.  To do this, a performer has to move fairly seamlessly between characters, and then take on a new persona for a couple of songs.  This makes the show quick paced and engaging throughout. 

To last 40 years, there has to be a winning formula especially when the show has people who return year after year or more than that, travel around to see the show in different venues whether in Britain or elsewhere.  It is great to see how the show has developed playing larger venues and attracting more followers and that they have been generous enough to support charities like the Make a Wish foundation, Childline and Help for Heroes.  During lockdown, the show was streamed into people’s homes with over 200 performances taking place. 

For many an evening like this is a trip down memory lane to see a choice selection of hits from the 1950’s to the 1980’s but there is enough here to engage both young and old.  It is thoughtfully prepared and well rehearsed with the cast and crew working together as a team.  As befits such a well honed show, it is a great nights entertainment. 

Theatre

Review An Orange in the Subway, The Other Room in partnership with The Wallich by Ferne Denmead

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“Not just a deeply moving play, but a rare, connected experience of homelessness between the audience and the actors onstage.“

It started with my forgotten umbrella and ended with one of the most authentic and unique theatre experiences.
Following the story of Cassie, a homeless girl lost and ruined, our emotions become escalated from watching this live performance of ‘An Orange in the Subway’ as we experience sitting on the ground on tarps and rain falling down for the ultimate homeless experience, immersing us with the incredible actors and witnessing their same struggles with them.

Owen Thomas’ writing will leave you wondering and in a rapt effect about how other people in this world are living, clinging to any hope and enthusiasm in what feels a dead-end life. The play will have you laughing the one second, and teary-eyed the other as we witness the harsh reality of being homeless.

Isolated and fearful, the main character of Cassie, played captivatingly by Mica Williams, is determined there is more to her life, someone or something out there looking out for her. And as we embark on her story, the incredible multi-rolling of both actors: François Pandolfo and Osian Lloyd, who has actual experience of being homeless, will expose the nerve wracking and heart-breaking encounters homeless people deal with every day.

In partnership with a Welsh homelessness charity The Wallich, Dan Jones’ perfect directing and the passionate acting brought to life the play and is giving homeless people the voice that is always subtly ignored when they plead on the side of the street.

You can find out more about the production here

Festivals, Theatre, Uncategorized

Review, Garry Starr: Classic Penguins, Francesca Moody Productions in association with MILKE and Underbelly, Ed Fringe, By Hannah Goslin

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out of 5 stars (5 / 5)

As a book lover, and, despite this, very much being influenced by the “book’s cover” Garry Starr was plastered around all things ed fringe and I knew, I would just need to see what this about. What I actually saw, was way beyond anything I ever expected.

Garry Starr: Classic Penguins is a show that attempts to go through every single penguin book within the time allowed, creating hilarious comedy through quick and basic acting out of the titles, audience engagement and … oh… a whole heap of nakedness. That’s right. As we enter, there’s a aesthetic of a villain’s ice lair, with Starr in a high backed chair and clearly a top hat and tails. But when he swivels around, we see Starr at his full nudeness. The show proceeds in this fashion, with much lewd comedy sought from this, some…ahem… intimate puppetry and zero boundaries in physicality. At some point, you get used to this and suddenly Starr will pull out something out of his hat (metaphorically) that takes us back to the rude comedy basics. I will say, that the nakedness doesn’t really add anything to the performance – there’s no real rhyme or reason, but you can’t be mad because it’s totally absurd and ridiculous and entire chaos. It’s such a mad production, that you actually do not stop laughing, whether specifically prompted or just because you cannot believe what is happening.

The actual “recreation” of the books are very clever. Very to the point and as described, there are bits that are heightened to either gross us out or make us shocked, and others that actually are physically impressive. To ourselves, we start to guess what’s next. Most of the time, the acting begins before we are told the true title and, any book lover, begins to try to get ahead of Starr and what he is recreating.

Starr himself is having a whale of a time – with no qualms of his state of dress or interactions with us, he is laughing and enjoying every moment as much as us. As with any audience interaction, there are curve balls and he relishes this and uses it very much to his advantage to pull more and more laughs from us. In pockets of the production, we actually feel as if we are just Starr’s friends, being as silly and ridiculous as he is, despite being within a large, sold out venue.

Garry Starr: Classic Penguins is an absolutely nuts and nonsensical production, with ranging high to low levels of comedy and concept. It is mania of the best kind and one of the most bizarre but brilliant productions at fringe.

Festivals, Theatre, Uncategorized

Review, KINDER, Ryan Stewart, Ed Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

If you were expecting a drag act, you are * some what* wrong. KINDER, while all the posters would tell you so, seems as if we are embarking on a drag act, we are in fact embarking on something a lot more.

KINDER is a deep and emotional production based on a drag artist at a time when their plans completely change. Instead of their debut on stage as their drag performance, they are in fact booked for a reading hour at the local library with children. What this triggers is a monologued production, with elements of high quality lip syncing performance, reflecting on a personal childhood and the state of children and families going forward.

The storytelling is deep and personal. We feel privileged to be part of something so sensitive and in a clearly vulnerable place. While the story is told, Stewart is slowly changing into a new outfit, looking through newly moved boxes, finding things that trigger a memory or an opinion. We learn a lot about them and how they came to be, while they also talk out loud their personal opinions and wants for the future. We feel close to Stewart, and they do speak to every one of us in that room. There are occasional moments of comedy, in the way that you find in a conversation, but this isn’t really meant to be that production, or so it would seem.

The lip-syncing moments are fierce and very professional – these injections liven and break up the monologue, much in a way that Shakespeare would use a light relief in one of his serious plays. Stewart easily commands the stage and takes up the space, not allowing your eyes to wander elsewhere. So, when we return to the one sided discussion, they suddenly seem a little lost in the space, and the tidying or searching becomes a little monotonous an action.

KINDER is a bit of a mismatch of a production – it has really strong moments, such as the lip syncing parts or the beginning of the artists vulnerability, but this sadly becomes a bit of the same, losing our attention and wanting something a bit more.

Festivals, Theatre, Uncategorized

Review, 3 Chickens Confront Existence, LookFWD Arts, Ed Fringe, By Hannah Goslin

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out of 5 stars (3 / 5)

As we confront the space, we see three human sized cages in front of us, ready for us to then confront existence with three chickens.

That sentence in itself seems surreal and of course, it means that this production is also surreal. Lights come up and we see three different coloured chickens in front of us in human size, sat in the cages, staring out at us. Over the next hour, these chickens contemplate existence, time, their lives and what’s to come, all while they wait for their randomised fate of the broiler.

Along with the differentiating colours, the personalities of each chicken is different and in some ways giving a sense of the film Chicken Run – we have a hen who is a little wacky, a cockerel who is more matter of fact and another cockerel who is a little more of a higher class. They have been thrown together in unfortunate circumstances, bouncing off one another, creating naturalistic humour in their differences. They do feel like they have been plucked out of the famous film, with similar thoughts, interactions and a desire to escape their fate.

In amongst their interactions, the spotlight is drawn on each of them for a monologue about their life and existence. Their contemplation, while chicken lead, feels philosophical, and does give a feeling of something avant garde and thought provoking. Within these moments and their interactions, there are elements of humour but it is small and subtle, and it’s difficult sometimes to tell if this is meant to be humorous or an attempt at high art. Whatever it is, it is a piece of theatre you’d expect to go to at the fringe, for the eccentricity alone.

3 Chickens Confront Existence is a thought provoking and philosophical and avant garde piece of theatre, well catered for those seeking to discover the unusual at fringe. It however felt a little lost on what it was meant to be, whether serious or a comedy. Either way, it was a well performed and interesting production.