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Review Mary Rose – York Theatre Royal by Simon Kensdale

This is a play – by JM Barrie, the author of ‘Peter Pan’ – that shouldn’t work today. First produced in 1920, it puts stereotypical characters into conventional settings and develops conversations between them in dated, middle class English. There is no direct conflict and the use of clichéd idiom and vocabulary is stifling. On top of this, the plot splits between two very different places and then takes fifty years to completely unravel.

Yet it does work. Barrie prompts you into reconsidering some time-honoured and appropriate literary themes. This may be because in ‘Mary Rose’ he deploys a crude form of surrealism, using it to open up another dimension behind the mind-numbing realism.

A little girl goes missing on a small island during a family holiday. After a month she reappears, unharmed and unconscious any time has passed. Since her parents are overjoyed to have her back, this mystery is accepted. Because it is never explained, though, sitting in the audience you try to rationalise it. Is it a reference to the number of children who died in childhood before the advent of modern medicine and hospital treatment – and of how a century ago parents simply had to cope?

Because of their daughter’s brush with death, the parents in the play are overly protective of her. They worry about her getting married. She does, however, and at first everything goes well – she has a baby boy – but when she persuades her husband to take her back to the island where she once disappeared – she disappears again, this time apparently for good.

You puzzle over Barrie’s intention. You think perhaps now he is referring to how often women died in childbirth before antibiotics were discovered. But huge numbers of young people had died in the flu epidemic that followed the First World War. A lot of households had to deal with losing their daughters as well as losing their sons. The mystery in the play echoes a social environment where a generation grew up with its members not having known one or both of their parents.

‘Mary Rose’ doesn’t wallow in sorrow. Mary’s parents and husband get on with their lives. The family maid becomes a surrogate daughter and is promoted to being a paid companion for Mary’s mother. But, in yet another twist irreconcilable with everyday reality, Mary returns after a quarter of a century. She is unchanged and, again, doesn’t know what has happened. Of course, everyone close to her has aged to the point at which she cannot recognise them – even though they all recognise her. Trying to grasp the situation, you consider the issue of mental stability. Mary is like someone who has gone mad, still believing herself to be young when she is middle-aged. The unhappy atmosphere in the family re-union thus becomes realistic and credible, even though the route the story has taken to set it up has been fantastic.

To round the play off, the story fast forwards in a movement reminiscent of ‘The Winter’s Tale’ –
‘Impute it not a crime
To me or my swift passage that I slide
O’er sixteen years, and leave the growth untried
Of that wide gap, since it is in my power
To o’erthrow law and in one self-born hour
To plant and o’erwhelm custom.’

Only Barrie’s story skips another twenty-five years, to the return of Mary’s son, Harry, to the house of his grandparents. There he encounters his mother, now a ghost.

A play which reminds you of the quote you learned for your A level English exam can’t be all bad. ‘Mary Rose’ is not on the scale of a Shakespearean play, but it gets away with what might just be a device – the use of unreal passages of time – to force consideration of family life – at this point, a kind of climax – reconciliation. The long-lost son is allowed a (brief) meeting with the mother he never knew, while she discovers her son has led a full life, a discovery that allows her to disappear forever – happy at last. Barrie succeeds in infusing his story with some poetry – as he had earlier with ‘Peter Pan’.

You could leave the theatre thinking about how surrealism never really got going in England, perhaps because of our insular attitude towards Europe, perhaps because our intelligentsia didn’t speak any foreign languages. You might also want to wonder why Barrie, who was very well connected with the other literary figures of his day, is no rival for Chekov, who was born in the same year. He’s hardly an English Ibsen, either. But whether you’re interested in its background or not, the York Actors Collective deserves congratulations for reviving a play that is so little known. (They won’t have earned much for their work, either, as it only resulted in a short run in a studio space.)

The Collective managed to wring the few laughs there are from the script. They made the stuffed shirt characters more or less sympathetic. The scenes didn’t drag as they might have done and the conversations, although clunky and predictable, rattled along without the need for overacting. The addition of a slight Australian accent for Harry, and a Hebridan brogue for Cameron, the gillie who accompanies Mary and her family to the little island, added colour. I didn’t find the portrayal of Mary’s husband, Simon, convincing but it is nightmare role to play, as he – a naval officer – is completely devoid of personality. The set was minimal but adequate for a studio production. The period atmosphere was caught by a few items of furniture and the appropriate clothing.

Theatres shouldn’t run too many revivals at the expense of new work, but there are a number of plays out there which are unfamiliar to the general public. Given the right kind of treatment, venues will benefit from putting them on. We saw this with the National’s ‘An Inspector Calls’ a few years ago and also with Theatr Clwyd’s production of ‘Rope’ in July this year. More, please.

Review Sarah Connolly & Joseph Middleton, Wigmore Hall, London by James Ellis


 out of 5 stars (4 / 5)

It’s been over a decade I’d say since last seeing the great Sarah Connolly. Now a Dame, one of England’s finest mezzos spent an evening at Wigmore with a inspired programme. Whilst Imogen Cooper could not make it on piano (a decision apparently made months ago), Joseph Middleton gave the honours.

In an all German first half, it was everything I’d ever need. In Schumann’s 6 Gedichte von N Lenau und Requiem (bare with me, this is correct), we got a splendid account from Connolly. Her German sounds great and is a lovely actor too, the sensuality and aching in the verse bleeds out. Her voice never overbears at all. The mezzo is finely crafted, the gusto she brings but a thrill to all. These German themes would continue with Huge Wolf and a fine selection of his songs. These too were superb, dare I say even more thrilling than the prior. A rich evocative nature was the aura of these, Middleton also as strong in these allusive bars which never gave away all their secrets.

After the break, a breakneck voyage to France, England and the United States. Debussy’s Chansons de Bilitis, was a deeply allusive set of three magical songs filled with merriment. Henri Duparc (who usually crops up at French recital’s) had the Extase in this continuation of the Gallic themes. Not as perceptive as the Debussy, though light and bright, filled with smiles. A selection of Benjamin Britten folk arrangements charmed, even with his stuffy ironies. ‘Sephestia’s Lullaby’ from A Charm of Lullabies was a stand out, a whiplash delivery in a nursery rhyme patter, so fetching the audience lapped it up. An end with songs of Samuel Barber was a more solemn turn, the solemn words of James Joyce ringing true. ‘Sleep now’ one of a few surprises, it was just a bit dreary to end with. Still the musicianship was razor-sharp, as expected.

The encore was Tangoes by Richard Rodney Bennett, what finer way to send us off?

Review Julien van Mellaerts & Alphonse Cemin, Wigmore Hall,  London by James Ellis

 out of 5 stars (3 / 5)

After two concerts over the space of a day, I was not quite yet done with Wigmore Hall.  The next afternoon, we got an afternoon dubbed ‘Au cimetière de Montmarte’, a tribute to the cultural district in Paris. Though this was mostly a French programme, we started in German with Robert Schumann. His Dichterliebe were a delightful collection of songs. These little pieces oozed with love, and more love, nature and landscapes and a passion for the heroic. So brief, over in a few bars and they delighted in every sense. Tender listening.

Julien is a fine baritone  but my one reservation are the high notes. They go into a realm of the almost uneasy, an enforcement not pleasing at all. Though the middle register is great, the low notes wonderous pools of depth. On to France with Berlioz and Lili Boulanger, the later being much more intriguing. The former’s extracts from Les nuits d’ete were witty and sombre, though with Lili we gets lots of ideas and impressionisms. Her Attente is new to me, though anytime we hear her it’s quite special, her tragically early death snubbed out a composer of real talent.

Poulenc and his Banalités are cheeky portions of froth and nostalgia in equal measure. The cabaret is very much the setting, the mood is sultry and fun. Pianist Alphonse Cemi looks like he enjoys the material just as much as our singer, playing with an abandon little seen today, fast and truly tight when needed. Further merry treats from Guilbert and Trenet ended this Parisian voyage. It was one of light humour, conversational insights and of moody illusions. An English classic as an encore: A Nightingale Sang in Berkeley Square was musically just about right, bringing us back to our current local. 

Review Yes, We’re Related, Lace-Evans Productions, Purple Door Productions, The Other Palace, By Hannah Goslin

 out of 5 stars (3 / 5)

I must say, it is a daily thought and worry of mine about the (hopefully, very far in the future) moment of losing my parents *touches wood*. I’m not sure my reaction, how I will cope, and whether there will be moments of insanity or even comedy. Yes, We’re Related has already helped my knowledge that this could be possible.

Yes, We’re Related, is the story of two very different sisters, dealing with the passing of their mother, a party to celebrate 1 year on, the memories and angst and… a squirrel. Yes that’s right, a squirrel. Gerald is believed to be their mother reincarnated but what ensues is a stark look at the sister’s relationship, with one another, their mother and one of their partners and how to cope within loss.

A mixture of themes, this production certainly has moments of highs and lows. I wouldn’t say that it touches deeply in terms of sentiment or bringing a tear to your eye, but it brings out sympathies and certainly makes you think about your own relationships with family and friends. The highs are very high, with quick witted humour and a contrasting characterisation between sisters; one is prim and proper, organised and seemingly with her life together, the other, short of a breakdown within grief, is buoyant and erratic and extroverted. The two bounce off each other, with little break for pause, and this works really well. It feels truly natural as a sisterhood and as if we are peaking through that fourth wall.

The partner who is the third wheel of this relationship, is more like his partner’s sister than her; wild and melodramatic but also love-able. However, we know him as Mark, and twice does he accidentally get referred to as Mike. We can only assume this is an ex that the sister is fixated on, but we never reach that revelation and so it doesn’t quite add to the story as it maybe was meant to.

The squirrel, Gerald, is never seen. I’ll admit, I thought would there be some hand puppet or wildly, someone dressed as a squirrel. But no, he is presented in sound and light only, using our figment of imagination when he escapes and this works really well. He is meant to be the mother in animal form and the symbiotic relationship between him and the sister living there is concerning but also heartwarming. Her way of coping. A story, heard many a time in different guises. So when he leaves the story, and she succumbs to her grief, it is heartwarming and tearing all at the same time.

Yes, We’re Related is a roller coaster of comedy, meaningful conversation and a warm hug in what we will all experience, in one way or another. The performances and relationships are impeccable and it tells an age old story in a unique and new way.

Review BBC Singers, John Tavener’s Requiem Fragments, St Martin in the Fields, London by James Ellis

 out of 5 stars (4 / 5)

The BBC Singers remain one of many musical institutions who have been compromised by politics and funding. We’ve seen all the dismal activity in Wales with some of our groups, we really feel all this is happening at the wrong time.

This wonderful concert in a perfect venue had all the right features. Condensed down to 70 minutes and with the loss of conductor Sofi Jeannin, it would be Nicholas Chalmers who would take the plucky reins. This John Taverner heavy concert was filled with light, beauty and hope. Samuel Barber’s Angus Dei, better known as the Adagio for Strings in its quartet arrangement is famous and remains as powerful as when it was written. The Singers excel here, brooding harmonies and gentle harmonics are their powerhouse. Kristina Arakelyan’s Evening Prayer has few tricks nor frills, though was a miniature of grace, a subtlety not heard for some time.

Tavener’s Funeral Ikos is taken from the Greek Orthodox Church for when one of their priests dies. With stirring vocals and the sharing of the passages between the gendered singing groups, it could only be moving. The “Alleluias” are particularly strong, warm and golden as they stretch out between all. A return from Arakelyan, this time her Holocaust Memorial Day Hymn. This smooth writing comes from a composer in her youth, filled with promise. I’d like her to push the envelope and try out more experimental things.

Repurposed for Princess Diana’s funeral, Song for Athene was heard by over a billion people that day. It never loses its footing, the pacing is perfect too. Grabbing slices of Hamlet and more Orthodox wording, the chorus had moments of sheer wonder here. You are always pleased when it’s on the programme and it should leave many eyes teary. A more recent outing from 2014 with Tavener’s Requiem Fragments was the end this night. Having died the year prior, this send off saw its premiere at the Proms in London. Inspired by Renaissance master Josquin des Pres, these fragments also feature a string quartet and three trombones.

It’s odd in many ways, though filled with bracing, pretty moments you’d always expect. The quartet add a lot of power in the blend with the singers. The trombones are used sparingly, if little more then plodding and brief declarations. With Hindu texts melding with Latin, it felt like one of many latter offerings of Tavener and his fascination with faiths of the world. Even the opening words are a zen like “Ommmmm”. The solo for soprano stood behind us in her lush choral is then mirrored by the chrous, a standout of the piece and then done again for good measure. I think I may have preferred this upon its first outing, listening on the radio a decade ago. 

Review Septura, Wigmore Hall, London by James Ellis

 out of 5 stars (3 / 5)

In their tenth anniversary, Septura brass have made a name for themselves in the brass world. This being my first encounter, I wanted to savour their sound. The debate rages on whether brass on it’s own works as well as expected…still I was keen to see. Artistic director Matthew Knight would like me to think so.

Orlande de Lassus’ Lagrime di San Pietro is very much of its era, 16th Century. Septura has covered a broad palette spanning five centuries, new commissions also part of their makeup. It was lovely to heard essentially medieval music, unbovered by complexities, just affectionate and pleasing music.

Roxanna Panufnik got a premiere with her Seven Heavens. Music is in the family her father also a composer. I was stood behind her at the box office, we must do an interview sometime. Inspired by the Islamic depiction of the seven levels of heaven, the piece has an expectedly exotic plain. Using scales from the Muslim world, the effect was of worth, even if a whiff of novelty lingered. Strange harmonies between the players, aside perfumed solos was pretty much the whole piece. It also opens up the truth of musical languages from around the world, something not always seen today.

In an argument by Simon Cox, a selection of Prokofiev’s 10 Pieces Op. 12 was a cheeky opener to the second half. As ever acidic and bursting with rampant sure fire wit, you can always rely on the Russian composer. The audience was amused too, some laughter after certain moments stood out. For me, this and the last piece was the most fetching and attentive.

Shostakovich’s String Quartet No. 8, arranged by Simon Cox and Matthew Night worked very well. The alarming energy and morbid musings of Shostakovich didn’t win in the cross over. This quartet from 1960 came after years of deeply rooted anxiety and paranoia over his home county and his position in it. Could further arrangements work just as well?

The encore was on the tip of my tongue, I thought it was Debussy but I cant quite recall. 

Saturday 16th November 2024 

NINE SIXTEENTHS Performed at The Pleasance Theatre by Tanica Psalmist

Written & performed by Paula Varjack, devised and performed by featured casts members; Julienne Doko, Endy Mckay & Pauline Meyers.

NINE SIXTEENTHS retells the most searched incident over the internet. On the 1st February 2004, where we witness during the play the extent of ongoing warranted investigations, meetings, interviews, congressional hearings and biased coverage distorting the narrative of the feminine, an unprotected Black woman within patriarchal society, simultaneously tackling unethical white supremacy within show business causing infliction at every angle, complexing narratives through choice of language, encouraging further scrutiny, working against the woman.

NINE SIXTEENTHS well depicts from start to finish the challenges & turmoil Janet truly experienced. In the opening scenes we evidently see how the finale of the SuperBowl during Half time released the wildfire, with two of the most Iconic artists Janet Jackson & Justin Timberlake’s duet on Justin’s popular song ‘Rock your body with the final line’… “Have you naked by the end of this song” taking the world by surprise as he unapologetically revealed Janet Jackson’s breast in slow motion.

Each talented cast member perfectly highlighted the necessity for the world to have & share their opinion in their great multi-character takes, displaying the deepness of Janet’s never-ending humiliation, rage & hate speech for Janet Jackson daily shameful accusations, one being it was all a publicity stunt!

The obsession for more air time on this topic brought the attraction to the founding of YouTube! With the Founder of YouTube keen on erasing & destroying Janet’s career as profit & gains.

The influx of searches per day after the Super Bowl, helped stir debates around Janet’s sexually explicit content, where we see how even the White House launched an investigation on whether the CBS was in on it. With noone believing Janet’s verbal statement! FCC fined CBS, allowing the CEO of CBS to hate on Janet for eternity, fixating on getting her blacklisted on major music stations; MTV & CBS radio stations where music was majorly promoted! Janet was cut off & shadow banned, triggering scrutiny, pain and vulnerability! Paula has done an incredible job on touching on the depths of this forgotten but never truly forgotten infliction.

In this play we are left critically thinking & reflecting on the ‘why’, why was Justin not mentioned once, acknowledged nor considered in the articles/headline news, with the frame solely on Janets indecency, deliberate tendencies, turning Justin Timberlake into the victim, the innocent bystander whilst Janet remained the perpetuator, blocked for 8years, undermined on live TV shows & criticised for the entire world to continue watching legally even till this day.

Overall, NINE SIXTEENTHS highlighted how our attention is our main currency so be careful how we choose to use it. The importance of acknowledging the why & what threatens Black woman’s safety net expressed universal vulnerability. However, unlike Janet, can we trust the personal spectrum is being heard, respected and considered this time around, moving forward.

Playing until 16th November 3pm & 7.30pm. November 14th performance will be BSL signed by Jacqui Beckford.

Review Richard O’Brien’s Rocky Horror Show, New Theatre, Cardiff by Bethan England

 out of 5 stars (4 / 5)

Rocky Horror show is certainly a cult hit by this point, clearly evidenced by the masses of Franks, Riff Raffs and more in the New Theatre foyer area, along with an abundance of corsets, high heels and golden top hats. It’s always an experience attending a production of this show, even from the moment of stepping into the theatre! But after all these years, does the classic show still deserve its prominent status?

The show looks back to its classic roots but with a fresh new face, courtesy of direction from Christoper Luscombe and excellent synchronicity from choreographer, Nathan M Wright. The Phantoms and cast are slick, utilising the full stage and, surrounding, but never encroaching upon the main action. There is a freshness and a joy to the movements which I think I’ve missed in other productions of this show. The contrast between the bright, popping colours of the first scenes and the later darker, yet still fabulous interior of the castle is expertly designed by Hugh Durrant. The whole set is surrounded with a twisting film reel and the musicians sit above it all, looking down upon the action. Lighting makes the stage truly pop with disco balls, lasers, projections directly onto the stage and more, another layer to the craziness of the plot, designed by Nick Richings.

The music is iconic of course and is lavishly brought to life here by a talented Josh Sood and his band, Ollie Boorman (drums), Dan Humphreys (bass guitar), Liam Spencer-Smith (guitars) and Dave Webb (reeds). Having them onstage rather than below in a pit really makes them a part of the action and ensures that the music envelops the audience in those well-known musical numbers. The songs are performed with panache by the band; the stand outs are Sweet Tranvestite and, of course, the incredible, Time Warp, which had multiple members of the audience up on their feet and dancing along.

What truly made this show for me was the outstanding cast; each and every one of them gives us a truly joyous performance; the singing and comic timing is particularly good. Lauren Chia and Connor Carson are lovable and clueless as our young lovebirds, Janet and Brad; I particularly enjoyed their rendition of Once in a While, beautifully harmonised, a tender moment in a somewhat manic and crazy show. Job Greuter, Natasha Hoeberigs and Jayne-Lee Zanoncelli are the life and soul of the party as Riff Raff, Magenta and Columbia. As the leading force behind Time Warp, they literally blow the roof off the New Theatre; the vocals and performances here are exceptional. I was also really impressed by Greuter’s vocal performance in Over at the Frankenstein Place. Edward Bullingham also delivers an excellent version of Hot Patootie, bursting onto the stage as Eddie and returning later as Dr Scott.

The Narrator must be an intimidating role to step into in this show, he is, after all, the victim of most of the heckling from the audience. However, Nathan Caton truly utilises his comic chops here, gives the audience as good (and sometimes as rude and crude!) as he gets, and his responses are so fast and witty that the hecklers need ice for his burns by the end of the show! He is effortlessly funny, bang up to date and owns the stage whenever he steps onto it. Frank N Furter is performed on 4th and 5th November by Stephen Webb, a veteran of the show who has played the role on multiple occasions. From the moment the doors open, and he appears, draped in his cape to perform Sweet Transvestite, to the final curtain call, Webb is a brilliant, loveable yet devilish Frank, strutting across the stage with so much poise, a twinkle in his eye and a phenomenal voice. His performance of I’m Going Home was such a poignant moment, proving he can show us the softer, more tender side of Frank too.

The show is truly a rollicking, fast paced, no holds barred production, and the finale has the audience up and dancing as one. The plot is insane, but it doesn’t matter; for two hours the audience laugh, heckle, clap, dance and even sing along in this bonkers yet full of heart production. Whether you’re a long-time attendee of the show or its your first time seeing it, there’s something for everyone here, but just make sure to leave your inhibitions well and truly at home!

Review Pontypool, Wales Millennium Centre by Bethan England.

 out of 5 stars (4.5 / 5)

‘Don’t. Breathe. A. Word,’ is the advice given to all those who may enter the Western Studio at the Wales Millennium Centre to watch ‘Pontypool;’ a brand new stage adaptation by Hefin Robinson, directed by Dan Phillips and based on the cult horror story by Tony Burgess.

The original novel took place in Pontypool but in Ontario, Canada, whereas this production definitely is a lot more local!

Washed up radio DJ, Grant Mazzy is trying to ‘take no prisoners’ and whip up the local community into action through his radio slot. There’s only one problem; he’s used to the listeners of Islington and now he’s ended up in a basement in Pontypool delivering his ‘Mazzy’s musings’ on Beacon Radio. Producer Rhiannon has certainly got her hands full with him and Megan, the assistant, is just trying to keep the show on track. Mazzy wants to deliver hard hitting radio, which isn’t easy when you must interview the cast of the local, gender blind production of Lawrence of Arabia…

Production Images Credit Kirsten McTernan

The action, all delivered in the basement radio station, really amps up as they start to receive news of a local ‘riot’ at the doctor’s surgery, which turns out to be a lot more than it first seems. Not being familiar with the cult horror novel means that every twist and turn of this production was a complete surprise to me but even those familiar with the story will be met with a fresh, local but universal story that is brought bang up to the 21st century with Rhiannon demanding Mazzy STOP using the word ‘woke’ and references to the last time we got locked down. The writing is fantastic, and I highly commend Hefin’s adaptation; the humour is fast paced and relentless, the language is witty and smart and the relationships between the characters are totally believable. Even when the action starts to ramp up, the direction by Dan Phillips has clearly been worked to toe the line between drama and comedy, its expertly walked and even in the horrific moments, the comedy still flows!

The casting is spot on; Carwyn Jones is the voice of Ken Loney, ‘the eye in the sky’ reporting on the weather in Pontypool from his ‘sun helicopter…’ Although we never see him, the voiceover is excellent, the comedy ably aided by the clever sound effects. His later phone calls to the station are perfectly counterbalanced to the earlier humour, with voice alone sending shivers down the spines of the audience. Ioan Hefin is ‘dodgy’ Dr Harry Phillips, again balancing comic chops with great acting ability in the more serious moments. He is the lynchpin to the play, providing us with in turns hilarious and in turns dramatic moments of explanation.

Rhiannon Briar is brought to life by Victoria John; she captures the frustration of the producer stuck with the radio ‘star’ with big ambitions of ‘shaking things up.’ The clashes with Mazzy are delivered with panache and Victoria gives us brilliant angry chemistry with Mazzy. They are the quintessential odd couple of the play. Without giving too much away, Mail O’Donnell’s portrayal of Megan Davies, the radio assistant, is a role of two parts! Her physicality is exceptional, and she ably delivers the vision of Movement and Intimacy Director, Lucy Glassbrook. Her realisation of the character and her twists and turns is delivered expertly right up to its explosive conclusion…

Finally, the radio DJ himself, the voice of Pontypool, Grant Mazzy is brought to life by Lloyd Hutchinson. Lloyd owns the stage and his radio booth, prowling across the stage with his agenda ready and waiting to be delivered to the willing (or unwilling) listeners of Beacon Radio. He sends the audience into fits of laughter with facial expressions and movements alone; he also sends a shiver down our spines with those expressions and silences too. I was so impressed by his ability to have me giggling one moment and with my heart in the mouth the next.

A special mention must go to the make up and special effects, which totally blew me away. The make up is brilliant; huge congratulations to the Marcus Whitney and assistant, Kristie Stanway. I honestly had no idea how the team would bring this horror classic to life onstage, but I was in awe. I can’t say too much, but the make up and effects are visceral and drew gasps (and sounds of disgust!) from the captivated audience.

A huge congratulations to all involved with this expert adaptation; what a phenomenal version, with a distinct national flavour but universal appeal. Don’t miss this and do not let Pontypool fall silent. ‘Don’t. Breathe. A. Word…’ or should I say… ‘Dim. Gair. Wrth Neb…’

You can find out more and book tickets here

Review Wicked the Musical, Wales Millennium Centre by Bethan England

 out of 5 stars (4 / 5)

The tale of the Witches of Oz flies back in the Wales Millennium Centre; the tale of what happened before Dorothy dropped into the land of Oz has been captivating audiences on Broadway since 2003 and in London since 2006. The West End’s 10th longest running musical has also toured extensively and is truly a well-loved musical if the sales of the five-week run at the Centre are anything to go by!

The opening number, ‘No One Mourns the Wicked’ is a familiar point from the classic, Wizard of Oz. The Wicked Witch of the West is dead, and the citizens of Oz are celebrating that the ‘enemy of all of us here in Oz’ is finally gone. I love the opening of the show, the flying monkeys winding open the Time Dragon Clock, the Time Dragon himself breathing smoke, eyes glowing, flaps his wings above the stage. The ensemble is electric, and the harmonies are tight. Sarah O’Connor, arriving by bubble (of course), soars in this number; her vocals and comic timing are excellent.

From there we move back to the first meeting of Elphaba and Galinda back in their university days at Shiz. Laura Pick sets a great tone as Elphaba, spiky and defensive with a distinct element of dorkiness; her characterisation here was a breath of fresh air into a character that I’ve seen portrayed on many occasions. Laura soars in ‘The Wizard and I,’ moving effortlessly from on guard Elphaba to one full of hope and dreams. I thoroughly enjoyed the way she explored her various sides; moving from this into a hilarious rendition of ‘What is This Feeling?’ with Sarah O’Connor.

The cast and ensemble bring pure joy to the Donald Gordon Theatre; Carl Man upsetting the calm of university life in ‘Dancing Through Life,’ Donna Berlin playing a delightfully loveable yet evil Morrible, Jed Berry is an adorable Boq, besotted with Galinda, Nessarose is sweet but with a simmering anger played ably by Megan Gardiner and Simeon Truby is truly the ‘goat’ of the piece, multi-roling as the bumbling but heartfelt Dr Dillamond and then hamming it up as the ‘wonderful’ Wizard of Oz. The emphasis on characterisation was appreciated. This is probably the most in depth I’ve seen the characters explored and it was satisfying to see them brought to life with such precision and thought.

It’s inevitable that a touring production is slimmed down from a London, resident production. However, all the key elements are here, and it was hard to find too much that was different from the production in the West End. I loved that the Time Dragon is proudly positioned above the stage; his eyes glowing red and his wings flapping at the opening but also at key moments in the show. Having read (and adored) the book, it’s lovely to see this element brought across from the page to the stage. The key moments from London are all recreated here, including the iconic flying in ‘Defying Gravity,’ Laura rising through the air to belt out those last notes of the iconic song.

All in all, this is a thrillifying production of the classic musical with a talented cast, staging, choreography, and direction (both acting and musical!). The show is one that can be enjoyed by all ages, something different being discovered by each audience member no matter how old or young. It was lovely to see a new interpretation of the show to prove that although it’s been wowing audiences since 2003, there is no sign of this musical going anywhere.

Wicked is a show that truly defies gravity, so make sure you dance through life down to Cardiff Bay and see Wicked before it flies out of town ‘for good’ on 23rd November!