The outstanding Lion King musical has returned to Cardiff this summer. The Serengeti of Africa was transported to the Wales Millennium Centre. It brings warmth, light and darkness, with an emotive contemplative story line, and fantastic rhythms and lyrics.
The Walt Disney animations studio created The Lion King feature film back in 1994. The Lion King musical, which is based on the original animated film, made its first debut in 1997, in the state of Minnesota in the United States of America. In 1999, it was opened in the U.K. at Lyceum Theatre, and has been running ever since.
The story follows Simba’s journey from a cub to an adult lion, becoming the King Lion. Simba is the son of Mufasa and Sarabi, and his jealous uncle Scar kills his brother Mufasa, blaming Simba, and as a scared grieving cub he is forced to run away. Timon (Meerkat) and Pumbaa (Warthog) come across Simba, and they grow up together. The Pride Land in the mean time, is suffering under Scar and the hyenas reign. Nala, who was Simba’s best friend as a young cub, is now grown up, and while out hunting she is reunited with Simba. Simba’s confusion on whether to go back is helped by a spiritual meeting his dad Mufasa. Simba returns, the truth is out who really killed Mufasa, Scar falls to his death, and now Simba is the rightful descendant King of the Serengeti pride land.
The classic songs “ Hakuna Matata”, “Can you Feel the Love Tonight?” and “Circle of Life” by Elton John and Tim Rice feature in the musical.
There are a few song additions that don’t feature in film version, such as “Grasslands Chant” and “One by One”.
In the musical Rafiki, who has a narrative role, is played by a female. It was decided this as production felt it needed another stronger leading female role.
The hyenas, although dark and scary, have a comedic side to them alongside Scar, and of course not forgetting the jokes from Timon and Pumbaa, and Zazu (Hornbill).
The cast ensemble play absolutely incredible roles, from different animals, to dancing grass features. The super creative costumes, alongside the fantastic choreography, bring the auditorium to life. Performing not just on the stage, but in with the audience too. This gives such an immersive interactive experience.
My children who came along with me, age 11, 9 and 4, had their mouths wide open in awe of them, and couldn’t stop smiling. It really adds to the experience, and I got this warm magical feeling inside. We loved how the percussionists were positioned in the side boxes of the audience.
One thing I did notice with the performance I watched, I felt the volume needed to be increased as I felt it had reduced sound. I did question whether it was a relaxed performance because of this, but it wasn’t.
The first act seemed to be significantly longer than the second act. My children did start to fidget slightly towards the end of the first act and ask when they could get a drink and use to the toilet.
On a personal note, The Lion King musical has always had a play in my heart and in my top 10 musicals of all time! I enjoy the storyline along with African musical rhythms, inventive vibrant costumes and artistic set design.
The Lion King was also the first ever live musical theatre performance my son at age 3 watched in Cardiff back in 2014. He has been hooked on musical theatre ever since, and has a CD collection of soundtracks from the musicals he has seen since.
The Lion King musical in Cardiff Wales Millennium Centre 2014, my son Cody at age 3.
It’s certainly a musical for all the family. Guidance is from 6 years plus, and no under 3’s. It was approximately 2 hours 30 minutes long with a 15 minute interval.
It has to be said the whole cast and crew are incredibly talented.
Hi Francesca, great to meet you, can you tell us about yourself and your work?
Hi! I’m a female, working class director- born and bred in Swansea, then went to drama school in Liverpool, where I now live. After graduating back in 2014 I had a short stint of performing but I quickly realised how much I enjoy carving out the stories I want to tell. The fantastic Kate Wasserberg offered some assistant director experience as the trainee director at The Other Room Theatre in Cardiff. It’s through her that I met one of the most influential people over my career, Tamara Harvey and started my wonderful relationship with Theatr Clwyd where I went on to be one of the first recipients of the Carne Trust Traineeship for Directors in Wales.
Kate WasserbergTamara Harvey
The work I make is influenced a lot by music. Since a child I’ve loved singing and dancing, and I find music is at the core of a lot of my productions. I’m drawn to real stories, real people and the extraordinary moments in everyday life.
You have just directed a new play A Pretty Sh*tty Love, what role does music play in this production?
Before I even knew what the script would be, I had a composer on board. I love working with Alexandra Faye Braithwaite I think she’s extraordinary and her work is so intricate and emotive.
Alexandra Faye Braithwaite
We knew that the piece would be heavily underscored and that music would be its own character. It’s a real story about a real woman who was buried alive in Swansea by her abusive husband. It’s a two hander but heavily told by the main character, Hayley, who draws back on memories. Music is a way to evoke memories for all of us and, in this production especially, it’s the thing that helps lead her through her story. I feel like I won the theatre lottery by having Katherine Chandler write the script, because her writing is so musical anyway so it’s really beautiful to underscore. Kath writes real people better than anyone I know and I think it’ll be a really special, important story to tell.
A Pretty Sh*tty Love plays at Theatr Clwyd from Fri 8 – Sat 23 July and Chapter Arts, Cardiff Wed 27 – Fri 29 July.
The performance at Chapter on Wednesday 27 July has a post show Q&A with Francesca and Writer Katherine Chandler.
There is BSL Interpretation by Sami Dunn on Friday 29 July
This chat is specifically about music and the role it has played in your personal and professional life. To get is started what are you currently listening to?
I had serious FOMO not being at Glastonbury this year. I love live music and so I watched all of the highlights on TV. So, I think that’s influenced a lot of my current playlists. Currently, it’s Holly Humberstone, Maisy Peters and Haim. I always have Haim on repeat – I think they’re just amazing. Weirdly, I saw them in a tiny gig in Philadelphia back in 2012 when no one knew who they were and the drummer played one song on the kit with her heels. I knew I loved them then.
https://youtu.be/jEChsA4W5Wg
We are interviewing a range of people about their own musical inspiration; can you list five records/albums which have a personal resonance to you and why?
1.Tina Turner- Proud Mary.
This takes me back to uni, student nights out and moving to Liverpool.
2.Badfinger –No Dice (album)
I’m currently developing a new Badfinger actor muso piece with my good friend and creative partner Daniel Lloyd, written by Swansea playwright Tracy Harris. I think this album is extraordinary; the talent of these boys is just unreal.
3.Meatloaf- Bat Out of Hell
I put this album on whenever I need a big pick me up, or long car journeys when I need a good sing-a-long. I love how theatrical it is and how every sing is a full production. Growing up I listened to a lot of musical theatre as I wasn’t that interested in new music (the exception being The Spice Girls obvs).
4. Jamie T – Panic Prevention (album)
It was SO hard to choose just one of Jamie T’s albums. He’s always been one of my favourites and I think the person I’ve seen live the most. Me and my best mate Louise were just obsessed. We’d get in from a night out in Swansea and wake up the next morning with tickets to his gig, having no recollection of buying them. We’d know every song word for word and sing it as loud as we could in the car!
5.Phil Collins/Genesis
This is such a cheat, I’m sorry! But I really couldn’t pick one album or song. My parents would play Phil Collins constantly growing up and they still do! I love listening to him, it reminds me of home and makes me think of my mum and dad. The three of us recently went to his final Genesis concert in Liverpool and I remember thinking, I’m going to remember this moment forever. It was really special.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
Without You – Badfinger. (From the No Dice album)
The story of this band has stayed with me so much over the last year or 2 whilst working on the show. Just a couple of boys from Swansea, with so much talent who just wanted to make music, and they had such a sad end. The story is heart-breaking. People think this song was written by Harry Nisson, or maybe younger people might think of Mariah Carey, but actually it was a lad from Townhill, Swansea- Pete Ham. He wrote it with bandmember and scouser Tom Evans. So being from Swansea, living in Liverpool, it feels particularly special.
One of the many fine exhibitions in London presently has to be for Raphael. Though well known as a master artist in every field he covered, he might still be lesser known, more love for his contemporaries.
Arriving in the space we are first met with a stunning small piece, a painting of Saint Sebastian. Here, he appears full faced and holding a spear, his famous symbol from the Romans trying to do him in. He simply glows and the finer details of his bright features and eloquent clothes stand out. You can see why they chose this first. I loved it so much I went all the way back to see it again prior to leaving the show.
The amount of painting of baby Jesus is on mass. Of course he is frequently seen with the Virgin Mary and his cousin, John the Baptist, recognisable for his long, cane cross and fur. It’s the posturing of each figure that helps formulate a highly stylised vision. It’s the shading that stands out and the magic that Rapheal could colour with paint. Ginormous fabric pieces based off his work tower over exhibition walls, staggering to think the amount of hours that would have gone into making these.
A huge Crucifixion impose upon the viewer, though not his most stimulating offering. Saint Catherine of Alexandria looks to the heavens for answers, in a perfectly contoured show of details and poise. Some drawings are too indistinct to truly appreciate and some scribbly letters prove his muddled writing, through a brilliant intellect.
Lorenzo de’ Medici stands proudly in the final room, his clothes showy for this huge figure in Italian history. Growing up an orphan, one wonders if these mother and child iconography had a deep impact on the Rapheal. Architecture and metal work would also show off his vast talents, reaching fever pitch in a tiny room with video work of his buildings and some frescos. Looking back a good amount of time is required to drink this show in. At least two hours I’d say.
Truly the hot ticket of the summer.
Raphael: The Credit Suisse Exhibition continues at the National Gallery till 31 July 2022.
‘A Shoddy Detective & The Art of Deception’ features four energetic and talented actors; Becky Bartram, Luke Rose, Jordan Stratton and Mitch Donaldson. This play is amusingly cheerful from the offset; fuzzy smiles, warm welcomes & teases from the cast towards the audience casually strolling in, intrinsically lures the crowd in towards an evening of helpless chuckles, laughter, innuendos & classic banter for all age groups to understand & absorb well.
When the Great Lord & Lady Raeburn discover at their auction that their masterpiece painting has been stolen, instant panic and fear hits them hardcore. The Detectives are immediately contacted to intervene & catch the wanted thief! Assigned to this case is the disgraceful slacker ‘Brian Taylor’ who gets partnered up alongside the sharp & genius detective ‘Dusty Wills’ to help him get to the bottom of the crime investigation.
Upon questioning and close examination, each and every one of Lord Raeburn’s staff and guests pays off nicely as they mysteriously get closer & closer to catching the mysterious thief by unlocking the houses deep, dark & deadly secrets; both the known and unknown, taking us all on an adventure to conquer this painting investigation. The multi-characterisation in this play is impressive, as well as the dashes of romance, excitement and enticement which continues throughout.
Overall, the actors held their accents well, their charm and witty humour and quick costume changes is well maintained, being the cushion of a true comedic parody which gives this play a unique comedic style. Whilst ‘Brian Taylor’ played by Luke Rose represents a shoddy detective without a doubt due to his slapstick act during the all cast fight scene towards the end, his helpless flirtatious moments and plot twists to win against the odds… not only satisfying to watch as we track down the smooth criminal but most definitely a good laugh too!
A hectic Saturday, along with tube strikes would herald a invigorating day of theatre in London. Kings Place has been itching to do their Noh Theatre festival since pre-pandemic times and with two days filled with events, I was only able to make Sumida River in Sign Language. This inclusive show, based on an old Japanese play of the Noh tradition, would welcome both deaf and hearing audiences. The lead roles were taken by Deaf performers who signed in their respective languages of JSL (Japanese Sign Language) and BSL (British Sign Language) with voiced translation in English.
Chisato Minamimura as the Mother
The tale itself is quite simple: a Ferryman (the fitting stature of Brian Duffy) refuses to let The Mother (the elegant Chisato Minamimura) pass the river so late at night. The story of a child who drowned in said river permeates the story, having been kidnapped by bandits and was fleeing in the process. The theme of the after life and the never ending flow of nature are the main elements of the piece, here even more distilled in a often calm, sometimes heightened drama. Percussionist Beibei Wang used all sorts of instruments, big drums to make us jump out of our seats, little gongs and even the floors and seats of the auditorium.
Most interesting was the use of both British and Japanese Sign Language, the Ferryman not able to grasp what The Mother means, with her insistent waving of her hand, her index and thumb together like the okay symbol. Being a lover of the dense practice of Noh, this was more accessible for both deaf audiences and for those unsure of the art itself. The strict posturing and lapping dialogue in the traditional pieces take time to unfold over you. Director Verity Lane should be praised here for her efforts, along with the cast including Elizabeth Oliver as the English voiceover and the plush costumes of Mirei Yazawa.
It was the sheer talent on display from all these young dancers that was highly impressive. Each of these groups offered some neck breaking, animated moves, something you wouldn’t think the human body could do in such quick succession. The diverse nature of the inclusion would see Impact spread out to Reading and Birmingham. I was off course delighted to see Fusions Elite, a troupe from Cardiff grace the stage, a welcome reminder of home on this trip away.
Many of these pieces had a certain mood, either jubilant, yearnful or furious. It’s that violent body popping I just cant get enough off! A retro cut of musical choices would see the delights of dubstep, a mass of hip-hop, The Pet Shop Boys, The Lion King and more. A breathtaking dance from Samuel da Silveria Lima, who came from Brazil to perform, proved that any one can dance. An appearance from Botis Seva, fresh off the success of BLKDOG, ended the guest artist programme in a typically evocative and strident target on violence in today’s world.
Seeing all this come together and the response from the audience to Hakeem’s lifetime of work was very touching. I’m in it for the journey now and want to see more.
Thinking back to a musical interlude at school – an “Ensemble at Assembly” was something to be reckoned with in the “Big Hall” at that time. Ancient tunes and solemn characters with frameless glasses prised onto long noses frequently moving as the notes went higher; earphone bun styled hair (before Princes Leia of “Star Wars”) withering looks from the Head Mistress as we, as pupils, were a captive audience and could not move.
Sinfonia Cymru erased that memory, as the brilliant graduates began their tour of Village and Community Halls entertaining with their free music concerts, giving of their own time performing in Mid Wales (String Quartet), the Valleys and South Wales (Flute, Clarinet, Oboe, Bassoon and Horn), West Wales (Four Cellos) ending with concerts in North West Wales (Harp Flute and Cello). Sinfonia Cymru are the UK’s leading professional under thirty orchestra. Their concerts are around 50 minutes with a mix of music with something for everyone
In the middle of May it was the turn of the Valleys area of South Wales and their first visit to the only remaining Miners Welfare and Institute in the Rhondda Fach, namely Tylorstown Welfare Hall. It was an informal musical intermission with Sinfonia Cymru, represented by five talented graduates namely
Epsie Thompson (Flute)
Emily Wilson (Clarinet)
Polly Bartlett (Oboe)
Emma Westley (Bassoon)
Alex Willett (Horn)
A Wind Quintet of gifted flair accompanied by the richness of their musical instruments played with distinction.
The acoustics of the Welfare Hall enlivened the rumbling Sea Shanties which set feet tapping along to the rhythm of such as “What Shall we do with a Drunken Sailor?” Dedications to various composers including Malcolm Arnold. A musical “race” staged between each performer as they rushed to win the accolade of finishing all together. The classics were there with Tchaikovsky’s “Dance of the Sugar Plum Fairy” from “The Nutcracker” alongside “The Flight of the Bumble Bee” which had the audience humming along in unison, helping to produce a honey of a rendition. Monet’s “Water Lilies” painting inspired musicality with the finale being a mix of Latin American and Jazz originated from the composer Bizet’s opera “Carmen”
It was a musical journey on a tide of chilled relaxed memories.
Afterwards there was an opportunity to talk with the members of the String Quintet, and their Chief Executive Officer Peter Bellingham.
If you get the opportunity when Sinfonia Cymru are on tour – catch up with them and enjoy their creativity and versatility.
From their website enjoy
AR HYD Y NOS All through the Night
As recorded/videoed at Rhosygilwen Cilgerran Pembrokeshire earlier this year.
On Thursday, 30 June Sinfonia Cymru will be performing at the Royal Welsh College of Music and Drama (RWCMD) in Cardiff from 7.30 pm
On Friday, 1 July Sinfonia Cymru will be at Pontio in Bangor from 7.30 pm
Both performances are a collaboration with celebrated artist, poet, and singer Casi Wyn inspired by Welsh culture, history, people, and landscape.
In the ever brilliant concerts at St Martin in the Field, pianist George Fu gave a dizzying recital leaving a huge impact on the afternoon audience. His love for Chopin leaked over the entire programme, with Mazurkas, a Ballade and even an encore from the Polish composer. My thoughts on Chopin won’t appease conventional tastes, especially in the standard repertoire, Fu brought out some really insightful moments in these classics. Both familiar and friendly, Chopin does have a far reaching appeal, his canon forever having an influence on the piano. It’s curious to hear how simple the music sounds, yet Fu is constantly in flux, awash in a musical feat of reverence.
Caroline Shaw and her piece Gustave le Gray, is inspired by the artist and has a lot of weight to it. A perfect companion to the Chopin. Revealing a lot of the trappings of romanticism, the piece utilised a liberal use of the dampener pedal and had a passionate use of fingering. It did outstay it’s welcome, though this held up as a fine discovery. My reason for attending was the finale of the late Frederic Rzewski and highlights from his North American Ballads. Down by the Riverside is an endlessly charming and touching plea for peace, an old spiritual. This holds up as a fine example of Rzewski’s skewered use of original pieces and transforms them to something spectacular. This reaches it’s zenith in the Winnsboro Cotton Mill Blues, a devastating depiction of it’s location, the mechanised patterns of the machines executed as forearms bashing on the keys. The amount of tone clusters in this is eye watering and a revelation, the look on some of the shocked audience and school children present was highly amusing. Fu shines in this music which leaves no prisoners. Keep a close eye on this one.
A Festival of Korean Dance has graced The Place for the past week. Some really enticing work has been done and I was lucky to see Collective A/Cha Jinyeob and their MIIN-BODY TO BODY. There was a lot to unpack in this show, how women are expected to be and behave in South Korea proves a conservatism we might not be able to grasp in the West. A male dancer dominates the space as beginners, slowly falls and writhed around in the circle of sand. The female dancers show a lot of vulnerability here, sharing more than expected, the amount of leg spreading in the show proved liberating, due to the demands of their culture expecting the opposite, as explained in the post show discussion. A monologue about cuckoos and the lack of interest in having a baby proved very telling.
These slight bodies stack on top one another, they form and separate. Video work and lighting are a very nice touch, the sand proving powerfully versatile with lights cast upon it. They want to challenge gender roles, something which is under post-mortem in many cultures presently. Yet, the most moving part came with a beautiful duet between both male and female, with the former carrying off with great ease the latter at the conclusion. Some other movement would evoke a cat walk, dancing in a nightclub and the violent swishing of long hair. “Miin” refers to an attractive person in Korean and this remains the prominent element of the show. These are artists who are tired of objectification and sexism. The post show talk would ask how if the show is in fact about feminism, the dancers also being translated into English as the discussion grew. This was a strange hour but it did have some touching and intense highlights.
MIIN-BODY TO BODY continues at The Place till 25 June 2022.
Chicago, 1920s. In a city ruled by mob bosses and moonshine, misbehaviour ain’t just on the menu: it’s a way of life. If it’s fame you’re after, you might get fifteen minutes or fifteen to life – and Roxie Hart’s dream of seeing her name in the papers is one she’ll kill for. With blood on her hands and a song in her heart, Roxie (Faye Brookes) teams up with sleazy lawyer Billy Flynn (Lee Mead) to fool the masses, stealing the thunder of her rival cellmate, Velma Kelly (Djalenga Scott), in the process.
‘All That Jazz’: the Chicago ensemble, led by Djalenga Scott as Velma Kelly
Featuring classic songs by Kander and Ebb and original choreography by Bob Fosse (the trio behind the iconic Cabaret), Chicago is fresher, funnier and fiercer than ever. 25 years after its revival swept the Tonys, and nearly 50 since it first premiered on Broadway, the show’s satire of law, politics and the press could hardly be more relevant: after all, what’s the difference between a theatre and a courtroom when showmanship, not integrity, is the order of the day? Even when the actors are playing judges and reporters, they’re wearing mesh, fishnets, and leather: justice is showbiz, darling, and you’d better pray for an encore. Chicago is self-consciously theatrical, drawing attention to its own artifice: a gilt frame encloses the stage, but the set itself has no frills and few props: its simplicity spotlights the performances instead of the staging.
‘We Both Reached for the Gun’: Billy Flynn (Lee Mead) puppeteers Roxie Hart (Faye Brookes) through a press conference
And what performances! Faye Brookes brings lashings of wit and charm to Roxie Hart: one part hapless crim, one part ruthless dame. Brookes is a hilarious and vibrant stage presence, particularly when pitted against Djalenga Scott as Velma Kelly, whose stylish swagger makes for an effective foil to Brookes’ wide-eyed ebullience; their ‘Hot Honey Rag’ duet is a veritable dance masterclass.
‘The name on everybody’s lips is gonna be “Roxie”‘: Roxie Hart (Faye Brookes) and her ‘boys’
There are excellent supporting performances by X Factor finalist Brenda Edwards as the sultry Matron ‘Mama’ Morton, Jamie Baughan as Roxie’s hangdog husband Amos and B.E. Wong as big-hearted but gullible journo Mary Sunshine. Meanwhile, Lee Mead as Billy Flynn really does give the audience the ol’ ‘Razzle Dazzle’, and Scott’s sensational rendition of ‘All That Jazz’ brings the house down by the time the show’s barely started. But the Cell Block Tango might just be the standout: by the final chorus, you’ll really believe ‘he had it coming!’
A chain-smoking tap-dance
The incredibly intricate dancing is executed with effortless precision, with every Fosse finger snap and hip roll present and accounted for. The ensemble is on top form as is the superb live band, directed by Andrew Hilton, who are seated onstage in striking, asymmetric tiers. You won’t find better singing, dancing or live music this side of the ‘20s: the cast prove once again why Chicago is still one of the best musicals around. If you love the Oscar-winning movie, you’ll be in your element; if you’re new to the medium, then you’re starting out with the best. Stylish, sexy and spectacular, Chicago is all that jazz and then some – it’s the most fun you can have without breaking the law!
‘I Can’t Do it Alone’: Velma Kelly (Djalenga Scott) and Roxie Hart (Faye Brookes) take their criminally-good show on the road
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For such a highly-anticipated Welsh drama, Y Golau seemed to run the well-worn tracks of what has become the genre’s favoured train: the psychological thriller. Given its all-star Welsh cast, I expected something much more original and distinctly different from previous Welsh noirs like Hidden and The Pact. As a result, I felt underwhelmed by its decision to present yet another murder mystery, complete with the same familiar tropes as its predecessors. Not that there was anything inherently wrong with the production. It just simply didn’t thrill and engross in quite the way that it might have done had it not been in the guise of similar series that had gone before.
Joanna Scanlan as Sharon (photo by Alistair Heap)
The typically rural setting and small-town cast of characters is one thing; but the desolate landscape, solemn music, and gloomy figures present yet another side to Wales that panders to the bleak and pedantic detail of the crime subgenre. Iwan Rheon plays the haunted convict who is released from prison having served a sentence for the murder of the daughter of Joanna Scanlan’s haunted mother. He returns to the town that is still haunted by the events of 18 years previously, his presence disturbing an uneasy peace which is exacerbated further by the re-appearance of Alexandra Roach’s journalist, who is looking for a story. The three of them give ample performances for what are very rare appearances in a Welsh-language outfit. Yet none command the kind of screen presence that has come to be expected of them. In particular, the animated spark that enlivens Scanlan and Roach’s appearance’ in No Offence is largely absent here. Instead, vacant stares obtrude their presentations such that it becomes difficult to make a significant emotional connection to their characters.
Ifan Huw Dafydd
It is Ifan Huw Dafydd that gives the best performance here. He strikes a menacing veneer over his character Huw that is justifiably unsettling. It is no surprise that his growing presence onscreen and involvement in the central narrative coincides with the more compelling and intriguing parts of the drama. If anything, the return of his estranged daughter Shelley (played by Rhian Blythe) is the catalyst for the twists and turns that follow in the final two parts of the series. This is where Y Golau becomes gripping in a way that its shortcomings, up until this point, can be forgiven. It enters a similar phase to that of Yr Amgueddfa, whereby its web of disparate characters start to become interconnected, drawing the various strands of the narrative together to create a big grand finale. But whereas Fflur Dafydd manages to maintain interest in the opening episodes in spite of the expositional setting up of the story, Regina Moriarty’s script doesn’t possess the same hooks with which to retain the audience’s attention. The result is a requirement to persevere in order to be rewarded rather than being kept sufficiently entertained throughout.
https://www.youtube.com/watch?v=mMS_jEb5_ag
In the end, Y Golau aims a bit too high. Issues of abuse and power are dealt with admirably. The final episode ensures the series ends strongly. But I expected more from this drama, not least because of the roster of Welsh stars that appear in its cast. Scanlan, Roach, Rheon, Hannah Daniel, Aneirin Hughes and Sian Reese-Williams, all lend it an air of quality that meant expectations were high. To then find a characteristic S4C offering in the mould of an Ed Talfan production that didn’t quite utilise the talent involved left me slightly dissatisfied. As a result, Y Golau lit up the screen but wasn’t a roaring success.
Hi Sam, great to meet you, can you give our readers some background information on yourself please?
Hi of course, I’m Sam Nicholson, I’m a dance teacher and fitness instructor down in Swansea. I have the pleasure of teaching lots of age ranges and abilities but I’m also the programme director for CanDo Hub where I get to work with 20 talented dancers with learning disabilities in our training provision.
I’m a Makaton tutor and I also work with lots of dance teachers and fitness instructors upskilling them in Additional Learning Needs.
What got you interested in dance and the arts?
I’ve danced since I was three so I’ve grown up with dance and the arts, it’s always been a part of my life and I don’t think I can see a time when it’s not going to be. I love how free it can make you, and through dance I’ve been taught so much.
You run the CanDo Hub which is for Adults with Additional Leaning Needs. You run group exercise and dance fitness opportunities, classes and day provision for adults with ALN, as well as CPD training for professionals. Can you tell us more about the group?
I set up CanDo Hub initially to provide dance and group exercise opportunities to individuals with ALN and their families. This quickly grew and a need for more specialised training became apparent – hence the start of our training provision.
Our training provision is made up of 20 talented individuals who all have Additional Learning Needs. It’s centred around giving and encouraging members to have a voice. Our teams decide their learning topics, what genre of art they want to focus on and so on. We very rarely say ‘oh no, you can’t do that’, its about finding a way to make their goals achievable and accessible. We work as a collective respecting each other and we get the best possible outcomes due to it.
The group have recently been working with Rebecca Edwards the National Dance Company Wales, Dance Ambassador for the Talesin in Swansea. How did you come to work together?
We were very lucky that Karen Thomas, Company Manager from NDCWales got in touch with us wanting to know more about our team, that lead to a meeting with NDCWales, Engagement Producer Guy O’Donnell, who put us in touch with our local Dance Ambassador. Rebecca has been fabulous and our team have really enjoyed working with her. Rebecca respects every one of them as dancers and has given them scope to add their own bits of choreography into the piece as well as expanding their knowledge and abilities. This was some of our dancers first experience of contemporary dance and they have really grown in terms of ability and confidence since working with her.
Karen ThomasGuy O’DonnellRebecca Edwards
Your group performed a Curtain Raiser at The Taliesin Arts Centre, Swansea prior to National Dance Company Wales performance on the main stage. That must have been a nerve-wracking moment for the group!
They really enjoyed being part of the curtain raiser, there were a lot of nerves and excitement leading up to the piece, the performance included two teams who had rehearsed separately, the first time they rehearsed all together was 45 minutes before the performance so that was incredibly nerve wracking, hoping that that the strategies we had put in place to rehearse spacing would work! Thankfully it did and we were very proud of how our dancers performed. More importantly, the dancers themselves were very proud of themselves.
The CanDo Hub group prior to performing their Curtain Raiser
You created some visual resources prior to the performance by NDCWales for the CanDo Hub, how do these support access to an understanding of Contemporary Dance for your group members?
Visual resources are so important for our teams, it helps consolidate knowledge and helps understanding. Prior to attending, we had watched the trailers for each piece and discussed what we thought each piece was going to be like.
Then during the performances each dancer was given visual worksheet on questions regarding each performance. This really helped our dancers focus their attention on different aspects of the performance. From set, props, costume and music, to movements and symbolism behind each piece.
The responses were great and lead to lots of discussion after the performance. Some of our dancers picked up on symbolism that for many would remain hidden. E.g Codi, one of our dancers saw within the first minutes of the piece that the flag used was to symbolise death. This worksheet was really helpful to refer back to when they were reviewing the pieces afterwards.
Codi Choreographed by Anthony Matsena Performed by NDCWales.
Contemporary dance is often abstract so there’s this common myth that someone with an Additional Learning Need wont ‘get it’, however if we as professionals provide the support in order to focus attention on certain aspects of each performance the results are often fascinating.
We believe some of your group have reviewed the performance? What did they think?
Yes! They loved all three pieces. I was expecting them to all decide as a collective on what was the overall favourite but this led to a debate with no overall favourite chosen. What was interesting was that our dancers all had valid reasons as to why their chosen piece was their favourite overall, and there was a lot of symbolism that they understood.
They loved the spoken word section of Wild Thoughts using different speeds of movement. In Codi they enjoyed the prop work with the stick and the rhythm section comprised of clapping and stamping. In Ludo, they like how fun the piece was and the hopscotch lighting effect section.
We share a selection of quotes from the groups reviews below
“My favourite bit was the blood pumping and jumps. The dance was about mining. The red flag was blood and they waved it when people died. The music was loud. It was my favourite piece.” Nia talking about Codi
“The music was loud and sharp. The dance made me feel jump scared but I was ok. My favourite dance moves were the dying moves and the stick work” Matthew talking about Codi
“I liked it when she turned the horn and scarf into a ship – it was funny!” – Ross talking about his favourite part in Ludo.
“The hopscotch was fab. I liked the jumps and lifts. It made me feel happy.” Joanne talking about her favourite part in Ludo.
“I liked it when they worked together as a team. I liked their floorwork and ballet moves. It was amazing” Sara talking about Wild Thoughts.
“My favourite move was when everyone walked saying ‘foot foot foot foot.’ I liked the lifts too” Clare talking about Wild thoughts.
If you were able to fund an area of the arts in Wales what would this be and why?
More opportunities for learning disabled dancers and learning disabled dance companies. As a sector we need to understand that we as professionals can learn a lot from learning disabled dancers and not put limits on their potential which quite often we are all guilty of.
What excites you about the arts in Wales?
It’s great to see how the arts is growing and reaching all different ages, backgrounds and abilities. It’s exciting to see new collaborations and relationships starting to be made that will hopefully grow providing more opportunities for everyone in our sector.
What was the last really great thing that you experienced that you would like to share with our readers?
The last thing I wanted to say was thank you to NDCWales! Our dancers felt valued and respected by the NDCW dance leaders and company and we really hope we get to work with them again.
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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