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Musical

Review Bugsy Malone, The Musical, Wales Millennium Centre by Rhys Payne

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out of 5 stars (3.5 / 5)

Prior to actually taking my seat in the Donald Gordon theatre in Wales Millennium Centre, I was talking to a friend about how I was attending the press evening for Bugsy Malone. This comment was met with an extremely perplexed and confused face and then followed by the remark “I didn’t know you were a fan of grime music?” This miscommunication occurred because I was not aware but there is an extremely popular rapper who goes by the moniker Bugzy Malone. Even in teaching, I often forget that people oftentimes do not have the same experiences growing up and often the list of movies, books, plays etc that were a key part of my upbringing are different from person to person. For those who were not aware Bugsy Malone (with an “s”, not a “z”) is a stage musical/film that tells the story of two rival gangs in New York with one rather unique twist. The lead characters are played by a collection of child actors who run around shooting each other with pies creating an almost comedy spoof of classic gangster movies.

There is no doubt that at some point or another in your life you have heard the famous warning you should “never work with children or animals.” We have all seen some variation of a video when a young child takes to the mic and let out the wildest comments that leaves you wondering where that comes from. In the world of theatre this due to the unpredictable nature of these two groups and their likelihood to forget lines, mess up choreography or miss cues. However, if this cast of incredibly talented performers is anything to go by then this saying needs to be retired ASAP! Every one of the principal cast members showcased the most incredible professionalism, confidence, talent and stage presence that the majority of people (myself included) can only dream of!

The entire show was anchored by the wonderfully talented Gabriel Payne who plus the titular role and cheeky wannabe gangster Bugsy Malone himself. Taking on the lead role of a musical is intimidating for a seasoned performer but Gabriel did not seem fazed in the slightest, in fact, every single moment this young performer graced the stage (which was an overwhelming amount for a such a young performer) he was flawlessly in character, mentally present and used every inch of the stage that had the audience in constant hysterics. One of my favourite numbers in the entire musical would have to be “down and out” which was led by Bugsy and empowered the remaining characters to join in and fight against the bad guys in the story. Gabriel used this number to show off that he is not only a talented actor but also possesses incredible vocal talents. This performance was so fantastic that the empowering message transcended the narrative itself and had the audience wanted to get up and join the revolution themselves.

Towards the beginning sections of the musical we are introduced to the eccentric mob boss and owner of the liveliest club to ever exist, Fat Sam played by the brilliant Albie Snelson! At the beginning of the show, we meet this character as an over-the-top personality that has a sense of Donald Trump about him but as the story progress, and his close friends are taken out, he becomes more and more desperate and frenzied which was captured beautifully by Albie. One of my highlights in the entire show would have to be a moment at his lowest where Sam is forced to carry out his own scene changes which has Albie acknowledging the lack of stage crew and having to run around at take all the set of chair. After becoming overcome with emotions after his invention leads to the loss of one of his closest friends, the lights do not go down leading Fat Sam on stage audibly asking for a scene change. The young performer performed a series of hilarious fourth wall breaks as he ran around the stage wheeling off props and staging which had the audience rolling with laughter throughout!


Both Bugsy and Fat Sam are involved in the brilliant car chase that brings a conclusive end to act one. The creative team working on this production cleverly used a series of strobe lights to portray the high-speed and extremely intense car chase (despite only having one car on stage) which was amazing to watch!

I also thoroughly enjoyed the recognisable song “So You Wanna Be a Boxer?” which was an extremely high-energy, dance-heavy, ensemble spectacle that was cleverly choreographed to include iconic boxing-based movements such as skipping, using a punching bag and even stepping into the ring. The number built up to the large-scale performance logically that had the audiences eyes racing across the stage as so much was going on! Talking about theatric experiences , I also loved the song “Bad Guys” that saw Fat Sam’s henchmen deliver a wonderfully over-the-top, classic Broadway-style song all about why they turned to a life of crime. Everyone of the performers leaned heavily into the exaggerated-ness of the number with fantastic facial expressions, massive movements and involving the audience. The last thing I would have expected from this hamster spoof movie would what could only be described as a rave/club mega-mix with the younger performers living their best lives and showcasing their dance skills with a range of unique tricks!

Overall, Bugsy Malone, The musical is a cleverly written gangster spoof that removes the violence we have come to expect from this genre. Breaking up each ‘death’ having a comedic scene to help soften the idea of a character being shot. As expected, the younger cast members really shine with each showcasing tremendous amounts of talent, professionalism and unlimited potential!

Theatre

“This is a time where people are very open to forgotten histories” An interview with Diana Nneka Atuona.

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Hi Diana, great to meet you, what first got you interested in the arts?

As child, I was always into creative writing and storytelling. I wanted to be a song writer (still kind of do) and I would also write short stories. I wrote my first play when I was around 11 or 12 for my church and just loved the idea of entertaining audiences.

Can you tell us about your writing process? Where do your ideas come from?

Ideas come in a variety of ways for me. Either I go looking (which rarely yields results) or I just get flashes of inspiration. It has to be said though, that it is pretty rare for me to find an idea that I fall in love long enough to want to work on but when I do, there is no greater feeling. I often start with finding the world first then, figuring out a premise before populating the world with characters. In terms of process, I now understand the importance of planning and structuring where I can so I try to complete that first before I start scripting.

 Can you describe your writing day? Do you have a process or a minimum word count?

I definitely don’t have word count. On a good day, I’d have been doing some writing in my head the night before so I really try and put that down until there is nothing left in my head or until I have to get on with life duties. I do try and write from the beginning of the story until the end but if there is a scene I am struggling with, I’ll just skip it and focus on one that’s strongest in my mind.

 Your latest play Trouble in Butetown plays at The Donmar Warehouse, London from the 10 February. The production takes place in an area of Cardiff Docks, called Butetown or Tiger Bay during World War Two. The production information describes the area as “home to souls from every corner of the globe” What drew you to this location and period for your play?

I fell in love with the history. It’s strange as, prior to writing about Tiger Bay, I knew very little about its history so I cannot explain what led me to go down that path but I’m glad I did. The more I researched, the more I fell in love with it. As a girl from Peckham in south London, I know a lot of people would be surprised to hear that I would choose to write this story but actually, there are elements of Tiger Bay’s history that I can relate to. I grew up in London, so I understand the world of racially diverse communities first hand. As a Peckham girl, I know what it’s like to grow up in a town that has a negative reputation that is not completely deserved, neither is it completely undeserved (we’re also both experiencing massive gentrification).

I also grew up around people like the characters in my play, salt of the earth types who would take the mick out of you but also have your back if you were ever in trouble. Tiger Bay’s cultural identity is also made up in part, of the West African culture. Being of West African descent myself, I felt I could easily relate. There were many periods I could have set this play in but I chose WW2 as the world of Jim Crow that the black American GIs who arrived in Cardiff suffered under, contrasted very nicely with the diversity and inclusion of Tiger Bay. I also felt that we have seen a ton of WW2 stories depicting the life of white Britain. I don’t believe I have seen anything that depicts the life of British people of colour.

Do you think the plays period and themes will resonate with contemporary audiences?

I think it will. This is a time where people are very open to forgotten histories. I also think that the themes of race and identity are very pertinent today. Essentially, this is a human story and I don’t think they ever really go out of style.

Trouble in Butetown is a recipient of the Theatre Royal Haymarket Writers Award and The George Devine Award. Did winning these awards increase awareness of your work and make commissioning of the production more likely?

Most definitely. The George Devine is a very well regarded theatre award and it was a real privilege to win it. It got the play in front of many venues, the Donmar being one of them and the rest, as they say, is history. The TRHW award was really important as it provided the necessary funds for me to develop the play and also provided support for the production as a whole. I am very grateful to have received both.

 There are a range of organisations supporting UK based writers. I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you? Is it possible to sustain a career as a writer in the UK and if not what would help?

That’s a pretty tough one for me to answer as historically, I never wrote fast enough to make a consistent living as a writer. I have however found that there has often been support when I needed it most, I am thinking of amazing organisations like The Peggy Ramsey Fund or the Fleabag fund. I think there can always be more support for writers especially due to the precarious nature of our jobs.

If you were able to fund an area of the arts what would this be and why?

I would probably say that I would fund new writing from under represented voices. In order for this industry to remain fresh and vibrant, we need a diversity of voices.

 What currently inspires you about the arts in the UK?

The landscape has changed so drastically since I started on this journey. There is a real appetite for new stories and there does seem to be a willingness from a lot of organisations to support new talent. It does feel like it’s all for the taking now.

 What was the last really great thing that you experienced that you would like to share with our readers?

My daughter turning three years old. She is the love of my life and to be surrounded by all our friends and family meant the world to me.

You can find out more about Trouble in Butetown and book tickets here

Theatre

“I am inspired by those who don’t quit” An interview with Nyla Webbe, Creative Arts Development Officer for G Expressions

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Interviewed by Guy O’Donnell, Director Get the Chance

Hi Nyla great to meet you, what got you interested in the arts?

For as long as I remember I have always had a love for performing. My parents said that they would watch me with my teddies in the garden pretending I was in another world and talking to myself, I was always creating stories and living in my own imagination. I also attended a very creative church growing up and from the age of 6-12 I was involved in productions, always singing, dancing and acting.

 You are the Creative Arts Development Officer for G Expressions based in Newport, the organisation “works to support young people aged 10-25 to dance develop and achieve their dreams. Through dance, theatre, and leadership activities , giving young people the confidence, tools and skills to achieve their goals.” How did you come to be involved in the organisation and why is its work important?

My family members run the organisation and since it began in 2010 I have always been involved in some shape or form. I was a young mum, therefore my children were my priority and my personal dreams of performing were put to the side but I assisted with G-Expressions on projects and would help out with dance at their previous studio ‘Bella Bella’. When they started doing theatre shows in 2014 I was keen to help out and began shadowing and assisting the writer and director of the shows, which happened to be Alexandria Riley.

Alexandria Riley

I then made my debut as a starring role in their production of ‘Sisters Acting up’ and felt such a buzz, even being at the age of 28 it was an amazing feeling and seeing how G-Expressions facilitate all their service users and staff, giving them a platform to achieve their dreams was such a great feeling. I then became an assistant director on their last show ‘Hard Knock Life’ and also got my job as Creative Arts Development Officer.

Being able to support young people in exploring their creative gifts is like a dream job for me. Giving them a safe place where they don’t feel judged and can be who they want to be, with the encouragement and guidance to do so gives them confidence and self-belief to reach their full potential.

You have written and are currently working on a new live production for G Expressions called Urban School of Arts. The production is described as “An original story filled with dance and drama about young people surviving their journey through performing arts school, all in hopes of pursuing their dreams of becoming artists” Can you tell us more about the creative process for the production and your intentions for it?

I began writing the story line during the Pandemic, after discussions with young people during a podcast I had set up through G-Expressions called ‘Say it How it is’. It was a great opportunity for young people to talk about different topics that they felt they were affected by and allowed them to talk openly and honestly, as most had said that they don’t feel listened to or even understood by authorities and adults. The stories came from real life topics and made me want to raise awareness about these topics that young people face, to help them talk more about it but to also give them a platform to express themselves in a creative way where they can be heard. I always wanted it to be an original as in the past we have used music that people know but have always had the issues of copyright, but I felt that we were in a place where we could offer more opportunities for artists to be recognised for their talents. I worked with some local young artists who love to write and produce and we managed to get funding from the High Sheriff to bring in a professional producer and work in the studio to record these songs. We now have a soundtrack alongside the show and I would love to see this tour and possibly see other drama schools put it on, who knows?

Urban School of Arts can be seen at The Riverfront Theatre, Newport from 03-04 Feb, tickets can be booked here

Much of your work takes place in Newport and is supported by The University of South Wales and The Riverfront Theatre, what more can be done to create opportunities for young creatives based in Newport?

We need more funding and buildings, it’s a simple answer really. G-Expressions are fortunate to have such a great partnership with USW and are now building on their relationship with The Riverfront Theatre and I am hoping that more opportunities come from this show. Access for young people interested in the arts is difficult, especially the young people we work with who don’t have the right backgrounds or finances. There needs to be more training and projects for them to be involved in.

The Urban School of Arts company.

If you were able to fund an area of the arts what would this be and why?

Training and development for artists who are new and need that bit of support. For myself, giving opportunities is so important.

 What currently inspires you about the arts in the UK?

People who are doing things their way and making their mark. I feel that there is so much talent out there that people don’t know about, but they are creeping through the gaps and slowly getting noticed. I am inspired by those who don’t quit, those theatre groups and artists who are doing what they love despite the challenges they face is inspiring.

What was the last really great thing that you experienced that you would like to share with our readers?

‘The Making of a Monster’- Connor Allen’s raw talent and vulnerability to be brave and so in your face was a true example of an all-round creative. It was a brilliant show that I hope continues and is recognised for its genius way of writing and performance.

Musical

Review Les Miserables, Wales Millennium Centre by Gemma Treharne-Foose

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out of 5 stars (4 / 5)

Les Mis in 2022 hits different 

Even if you’ve been effectively living under a rock since the 80’s, you might at least have a passing familiarity with the striking lead imagery for this big-hitting musical. The banner of the iconic young orphan and the red flag waving behind her is a permanent fixture in London’s West End and a mecca for theatre goers.

Les Miserables is one of theatre’s ‘big boys’, you may have never read Victor Hugo’s 1861 novel or even sat through a musical before but between Alain Boubil (Book and Lyrics), Claude-Michel Schonberg’s Music and Cameron Mackintosh’s golden touch as legendary producer, the production’s breakout songs have become synonymous with the musical theatre tradition, a crossover success as the songs (I Dreamed a Dream, Do You Hear the People Sing, Bring Him Home) have continued to catch the imagination of audiences around the world. 

Seeing the show in 2022 hits different, too. When Victor Hugo penned the original story during turbulent times in 19th century France, things were bad. Wages were being driven down and poverty was rife, while profits for industrialists were soaring. Despite a revolution and revolt against the French King, though – the upper middle classes still reaped the benefits. A new Royal King was anointed – but still, workers were suppressed against a backdrop of “enrichissez-vous” (getting rich) under the leadership of Louis Phillipe. Some things never change, it seems.  By the time we get to the song “Look Down” and the pleading chorus of beggars painting a woeful picture of no safety nets, no compassion and no grace for those unfortunate enough to be born poor – you will sadly relate if you are currently living in Tory Britain in 2022. The wealth gap has never been bigger and we’re sliding backwards to 1815, more’s the pity. 

The opening for this show (beautifully staged in Cardiff under the watchful eye of Directors Laurence Connor and James Powell along with Designer Matt Kinley), brings you into the eye of the storm during this era of unrest, as lead character Valjean’s backstory as a prisoner in a chain gang make their entrance. Even as we skip forward to 1823, conditions are still no better – and workers isolate and turn on one another in a vicious “dog eat dog” environment. We’re introduced to Fantine (beautifully played by Lauren Drew) and in time-honoured tradition of my uncanny ability to tear up at the merest hint of a ballad, her rendition of “I Dreamed a Dream” instantly had me in tears. This is a production that is guaranteed to wow you and pack a real punch. The ensemble cast skillfully demonstrates the pressure, the desperation, the cruelty and injustice of this era and the glimmer of hope that can be found in friendships and lovers. 

Despite being one of the “old kids on the block” this is a fairly timeless story and the production still feels fresh, I saw the show twice in one week and once with my teenage daughter. As parents of teenagers will know, it’s not easy keeping a Tik-Toking teen engaged – and this is a meaty show, too with a running time of over 2.5 hours. I won’t lie, it does feel long. It definitely felt long sitting on the fourth level (and very hot, too!), but numb bums and sweaty pits aside, this is a wondrous production. If you’re a sap like me, your belly will flip and you will blub (Oh Fantine!). 

For a show over fourty years old, it probably wouldn’t pass the theatre equivalent of the Bechdel Test, understandable given that this is a male-dominated environment of uprising, war and revolution. The strongest and most complex female role in this production is Eponine and it was a joy to watch Siobhan O-Driscoll shine in this role. I’m not sure if I detected some Scourse undertones to her accent…but it’s lovely to hear some accent diversity on stage. Cosette gets a rough deal as a character, I feel. She is an archetype of a female love interest and sadly her most interesting element to her character happens in the past, while she is under the guardianship of the Inkeepers. Speaking of Inkeepers, they are utterly brilliant on stage and a very welcome moment of light relief. Merthyr’s own Ian Hughes (as Monsieur Therbardier) and his side-kick Tessa Kadler command the stage and offer a riotous turn in “Master of the House”. Finally, we mustn’t forget the two leads Dean Chisnall (as Jean Valjean) and Nic Greenshields as Javert. They already have an exemplary record of theatre credits under their belt and their powerful performances on this tour will no doubt pave the way to more future greatness. I thoroughly enjoyed this show and I can’t believe I waited so long to see it on stage. 

https://youtu.be/qQlYkAD-wN4

Les Mis is playing at The WMC in Cardiff until 14th January. If you’re getting the new year blues, I recommend a front seat at the French revolution in the 1830’s…bring your tissues…! 

Literature, Music, Musical, Theatre

Review The Lion , the B*tch and the Wardrobe, Wales Millennium Centre by Rhys Payne

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Images Credit Jorge Lizalde

out of 5 stars (4.5 / 5)

When applying to join Get the Chance I talked about how as someone who has taken part in a plethora of community productions across Wales in both on and off-stage roles I have a deeper understanding of how the mechanics of putting on a show works. Usually, as a reviewer, we are focused on whatever happens on or around the stage for the three-ish hours of a select performance but I am going to start this week’s review a little bit differently by talking about something that happened before the auditorium even opened for “The Lion, the B*tch and the Wardrobe. As me and the famous Aunty Chris sat eating waiting for the doors of the venue to open, we discovered that Bar One at Wales Millennium Centre was selling a unique “B*tch Juice” cocktail to help celebrate the press evening of the show we were moments from seeing. At around £6 (which was under what I expected to pay for a cocktail at the Millennium Center) the vodka, cranberry and lemonade drink was incredibly refreshing and wonderfully delicious! In fact, I’m going to try experimenting at home to try and get the recipe as close to the one I had as possible as it was simply that nice!

This time last year I was invited to attend a performance of XXXmas Carol where I talked about my not-so-secret love of Polly Amorous from meeting her in nightclub settings and being absolutely astonished by how much of an incredible performer she was on the stage! When it was announced that Polly and the gang were returning for ‘The Lion, the B*tch and the Wardrobe’ the surprise of Polly’s acting prowess was gone. I walked into this show (sort of unfairly) with the knowledge of the previous show and how amazing the sober songbird of Splott was but despite all this she still managed to surpass the already high bar she had previously set! Not only had she built on her already fantastic stage presence but her vocal abilities seem to have only grown tenfold since the last time.

The show opens with Polly and her personal piano player Felix Sürbe as they take the audience of a whistle-stop tour of iconic Christmas anthems! The later sections of these mash-ups were where Polly really found her footing and managed to introduce her brand of hilarious humour and amazing vocals! Polly not only plays an integral part of the camp retelling of the CS Lewis story itself but also acts as a narrator of the show helping to transition from storytelling to an array of performers to scenes flawlessly. She is able to maintain the humour embedded into the show while also driving the plot without appearing like she is pushing things along which is not an easy thing to do. Whenever I watch Polly perform I always ask if she can give us a rendition of defying gravity from Wicked as this is a musical I love and is one of my favourite songs she does in her set. This is why I was totally overwhelmed when she not only busted out of a performance of this iconic song but did so while suspended in the air on a zip wire. Seeing her dangle in the air while singing about flying not only made sense narratively but the humour in her being left on stage had the audience howling!

In last year’s performance, we were introduced to the incredibly sensual Erik McGill who wowed the audience with his gravity-defying trapeze skills. This year he was given a much bigger responsibility of playing the loveable (yet extremely horny) Mr Bumnus. From the moment we first met this unique character to the more emotional moments throughout Eric is able to portray this goat/Human hybrid creature wonderfully while taking the audience on an emotional rollercoaster throughout. His first performance was a beautiful routine which involved Erik scaling up a floating lamp post and showcasing the most mesmerising poses and positions while keeping a lustful gaze at Polly the entire time.  He manages to control his body in such a smooth and fluid way meaning that the transitions from poses is just as entertaining as the tricks themselves. Early in the show, we see a hilarious scene where Mr Bumnus was Polly to spank him in return for secrets that would help the host on her quest. Erik does a fantastic job of taking this sexual (by nature) scene and injecting the perfect amount of comedy making it suitable for the stage. My favourite moment of this character however was just after an emotional moment with Mr Bumnus is violently punished for betraying the queen and Polly needs to find a way to bring him back to life. This leads to Polly discovering a paddle and using it to deliver a thunderous spank that not only jolts him back to life but straight into an incredible trapeze act. While Asha Jane delivered a wonderful performance of “It’s Raining Men”, Erik soared through the air on his trapeze with every time he leapt from the trapeze I physically jumped out of my seat! The range of flips and tricks he was able to perform while dangling so dangerously high in the air had my heart racing on the floor so I can’t imagine what he would have been feeling up there!

I was a little disappointed however that Rahim El Habachi had a much more drawn-back involvement in this year’s show not only because he is a friend of mine but also because his unique brand of belly dancing is always a crowd favourite! Last year he was able to showcase his dance skills, live singing and showcase original spoken word pieces and while he could showcase some of his talents, he did not have as many opportunities as last year! This performance was much more focused on his acting talents as he took on the role of a sexy reindeer and the mighty Ass-lan where he was able to throw his voice in such a way to create a powerful, bombing sound this character has become associated with. Throughout the show, Foo Foo LaBelle was able to showcase her incredible burlesque-infused performances including a police-inspired number where a lucky audience member was selected to go on stage and receive a sensual lap dance live in front of everyone. The performer was able to totally command the stage while also allowing for a reasonable amount of chaos and comedy with the audience member involved which is always a gamble in shows! I also thoroughly enjoyed the rendition of “Feeling Good” by Asha which ended with a vibrant explosion of streamers with every performing storming the stage to help mark the end of act one!

Overall, creating a queer retelling of a story originally created by a devoted Christian is not only an extremely powerful and political statement but also the fantastical elements of Narnia lend themselves beautifully to the series of unique performances. Polly managed to anchor the explosion of sensual eroticism (of whips, chains, spanking etc) with a mind-blowing performance and wonderful vocals (from Polly included) which is no easy feat! I would rate this show 4.5 stars out of 5!

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

Theatre

REVIEW Snow White and the Seven Dwarfs, New Theatre by Barbara Hughes-Moore

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Take your first Steps to a perfect Christmas! With last year’s Aladdin interrupted by the pandemic, the New Theatre’s annual in-house panto returns with the spirit of Christmas back in full swing. Presented by Crossroads Pantomimes and directed by David Burrows, Snow White and the Seven Dwarfs is a magic apple you’ll want to take a bite of.

Nay-Nay Gapomo in Snow White and the Seven Dwarfs (photo credit: Tim Dickeson)

Alan McHugh’s script draws on the story we know from Disney’s animated retelling while bringing some big panto laughs. Denquar Chupak plays the titular princess with characteristic sweetness and style, making a welcome return to the New after playing Princess Jasmine last year alongside Gareth Gates as Aladdin. A lovely romance blossoms between her and Nay-Nay Gapomo’s Prince Carwyn, who Queen Lucretia (Siân Reeves) has her (evil) eye on.

Siân Reeves and Ian ‘H’ Watkins in Snow White and the Seven Dwarfs (photo credit: Tim Dickeson)

Local boy and pop icon Ian ‘H’ Watkins from international supergroup Steps plays the Spirit of the Mirror and has an absolutely smashing (!) time onstage. Decked out in silver sparkles (imagine if the Tin Man started a pop career and you’re halfway there), he gets the audience on their feet and Stomp-ing to the beat of a classic pop medley quicker than you can say 5, 6, 7, 8! He’s far and away the Heart(beat) of the show. If, by the time you see H from Steps riding a flying motorbike over the audience, you don’t feel as though you’ve got your money’s worth, then that really is a Tragedy.

Siân Reeves and Gareth Thomas in Snow White and the Seven Dwarfs (photo credit: Tim Dickeson)

He riffs especially well off the other two feathers on the show’s Welsh crown: legendary Welsh rugby player Gareth Thomas as Henchman ‘Alfie’, and Panto Dame Extraordinaire Mike Doyle as Nurse Nancy (who’ll be at the New again in February with his own show, ‘Rock with Laughter’). While a few of the tropes could do with an upgrade – the 12 Days of Christmas went on about a week too long for me, but the kids in the audience were loving it – they’re performed with such joy that you can’t help but join in (though I think the time could have been better spent with another Steps dance-break, for example!) There’s potty humour for the little ones and innuendo for the adults, and while it’s not always my cup of tea, it was often my cup of cocoa – which Mike Doyle dresses up as in one memorable moment! His Shirley Bassey has to be seen to be believed, though my personal fave is an outfit that cannot be described and certainly not Trifled with.

Mike Doyle in Snow White and the Seven Dwarfs (photo credit: Tim Dickeson)

While ‘The Magnificent Seven’ of the title don’t feature often, they make an impression when they do – kudos to Gareth Elis, Ella Howlett, Mia Jae, Tiaan Jones, JB Maya, and especially James Rockey as the Seven’s eccentric Eric Idle-esque leader Doc (though I was quite surprised they hadn’t cast actors of short stature in these roles). But it’s better the devil you know as Siân Reeves vamps and camps it up as the vain(glorious) Lucretia, especially during her own Steps number – though if anyone’s walking away from this show with a crown, it’s Britain’s Got Talent finalist Steve Hewlett, whose ventriloquist act with grouchy puppet ‘Arthur’ has more than earned his royal seal of approval!

Denquar Chupak in Snow White and the Seven Dwarfs (photo credit: Tim Dickeson)

With enchanting scenery and brilliant special effects, Snow White and the Seven Dwarfs is brimming with festive magic and brings a fantastic new twist on the original tale you know and love.

Snow White and the Seven Dwarfs is playing at the New Theatre through to 8 January 2023. You can find more information on the show and book tickets here.

Ian ‘H’ Watkins in Snow White and the Seven Dwarfs (photo credit: Tim Dickeson)
Opera & classical

Review Bhekizizwe, Opera’r Ddraig, Chapter Arts Centre by James Ellis

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out of 5 stars (3 / 5)

From it’s humble start, Opera’r Ddraig have risen upward to stage familiar classics in spaces around Cardiff and on tour. Though with Bhekizizwe comes a much more diverse and contemporary scope for the company.

Dr Robert Fokkens from South Africa, now based at Cardiff Uni has composed the score and the libretto is penned by Mkhululi Mabija. We follow a young South African man Bhekizizwe Shange on his way to further education in both Pretoria and then London. With family, life and love interests adding to the story, he must find his way in the white mans world, proving himself as good as any of them. A partner of his in London would deliver a baby, much to the distain of the family of the girl, realising the child would be mixed race. 

The near eccentric nature of the music, is usual Fokkens territory, his recent piano premier at the Vale of Glamorgan Festival also proof of this. There was dischord, there was harmony, though most alive in the piercing moments of drama in the second half of the evening, dance club music and a pounding drum solo from Michael Hearty. I’ve yet to see a bow scrapped across a cymbal more times then here as well. I questioned how approachable the music would be, some in the audience declared this was their first opera. I dare say, it worked well and the interval was an added rest for all players involved. Fokkens also conducted every soberly, keeping the ensemble in a fine symmetry.

The story itself is quite bare, our lead boy seems to just knock about the places he is meant to go, perhaps the fact this is a monodrama with no other voices proves the static. With the upmost pride, the evening mostly belongs to baritone Themba Mvula. In the many dress-up moments for his teachers, family and maybe in-laws, he embodies them with swagger and humour. Mvula’s  voice is perfect in any register and he often excelled in soaring moments, even if the rowdy band might have drowned him out at times. There are some very touching moments and the bits of wit are well needed, the lists of things not to do in England was a highlight, dressing up with the buttoned up, dicky bow torso mannequin of his professor. He made the story more interesting then on face value and I was really quite taken with him. One to watch!  

At it’s heart the piece was about home, race and love. The quest for all these things in a world of hate and judgment.        

Musical

Review Girl from the North County, Wales Millennium Centre by Tracey Robinson

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Last night I had the pleasure of watching the ‘Girl from the North Country’ held at the magnificent Wales Millenium Centre. The story was written and produced by Conor McPherson using the songs of Bob Dylan. It’s a double Olivier and Tony Award-winning West End Broadway ‘smash’.

For those thinking the story is about Bob Dylan, it’s not! Dylan’s songs have been reimagined, revamped, and weaved into the lives of a group of troubled souls from Duluth, Minnesota (Dylan’s hometown) a city on the shores of Lake Superior. A tale of love, family, hardship, and survival.

Set in a guesthouse in the winter of 1934 in the middle of the great depression – seven years before the great songwriter was born. It was bleak and grim and that radiated out of the performances. Hard times are a test of strength and character and also how resilient we are when all else fails and the chips are down.

Proprietor Nick Laine is down on his luck and financially struggling to keep their guesthouse from being taken over by the bank, while his wife Elizabeth has dementia and floats in and out of moments of clarity. Nick and Elizabeth’s children also have their own struggles going on – Marianne is unmarried and 5 months pregnant and Gene is going nowhere in life, jobless, his struggles are with the demon drink.

I loved the way the ‘super talented’ musicians played using 1930s instruments and were often joined by cast members throughout the production, bringing the music to life. Every song was brilliantly performed but for me, the standouts were ‘Tight Connection’, ‘Rolling Stone’, ‘I Want You,’ ‘What Can I Do for You’, ‘Jokerman’, ‘Forever Young’ and ‘Pressing On’. Dylan was awarded the Nobel Prize for his lyrics and these performances are a superb showcase, all performed with confidence and passion, they had a strong, emotional impact that made my skin tingle with delight.

Dylan’s magic comes from his lyrics, the unique delivery of those lyrics and the exciting driving force of the music was a lot stronger than Dylan’s own voice. The way Dylan’s songs have been reimagined and revamped is impressive.

This was one of the best pieces of musical theatre I’ve seen in a long time, I was so excited I felt like a dog with two tails!

Theatre

Review Santa’s Wish, The Spiegeltent, Cardiff Castle Grounds by Kate Richards.

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As soon as I saw details of ‘the Spiegeltent’ I was intrigued and wanted to experience it – it didn’t disappoint.  When you walk in you are transported from the freezing, noisy hustle and bustle outside into a warm, welcoming space which, although it seats 500, feels intimate and special.  I didn’t use it – but was surprised and impressed to see the generous bar area as you walk in, and that added a luxurious (and practical) touch.  I can really imagine the tent coming into its own for the current production of Castellana which is described as cabaret, circus, burlesque and comedy, with the tent’s dark, ‘smoky’ atmosphere.

Anyway back to Santa’s Wish.  I took my 9-year-old son with me to see this production but had no idea what to expect and was worried that it might be a bit young for him, but in fact I’d say it is aimed at older primary school children rather than younger ones. 

The production is bright, colourful, the characters are engaging and my son was quickly taken with the humour and delivery of the male elf, as well as the tumbling and tricks.  As the story went on, it felt as though a little of the initial humour was lost as it became a more serious story, and I think for younger children, a few more breaks in the songs and story for a bit more ‘panto slapstick’ would appeal and give light relief.  The story was fairly easy to follow – though again I think some of the nuances were lost on the children, and it has the messages you’d expect from a children’s production – being kind to the planet and to one another, so you can’t argue with the sentiment.

My son judged the aerial acrobatics to be ‘amazing’ and it was certainly unusual to see a little of that in a children’s Christmas production, so that added to the spectacle.  I did wonder if perhaps a little more could have been made of this aspect of the show however, and I wasn’t keen on the very dull rather transparent costume used for the aerial work.  At one stage the performer came on to the stage wearing stilts, but nothing was really made of this skill, they just seemed to be being used to make her taller than the others which I found a bit baffling. 

The entire cast are strong singers which was nice and meant that songs were pleasant and easy to listen to, and whilst this performance is done ‘in the round’ at no time did I feel that they had their backs to us or that we couldn’t see what was happening.  It was also effective that they made use of the space amongst the audience – stopping to ask little ones if ‘they had seen Santa’ etc – which delighted some little girls behind me and included the whole audience in the action.  The props for the under the sea scene were creative and effective (I may have to make an Octopus umbrella myself now!) and being able to use the aerial lift for additional special effects worked well.  There were lots of ‘Instagram’ moments and it did feel that we were seeing a Christmas spectacle, which lived up to my hopes.

On the downside, there is no interval, so the children are sitting for about an hour and a quarter in total.  The younger children in from of me really struggled with this – the little girl (about 3) fell asleep quite early on and the older boy (around 5 or 6) was complaining that it was ‘taking ages’ at about 20 minutes into the performance.  Obviously all children have different capacities to sit for long periods, and in fairness to the cast – they very much encouraged everyone to get up and dance with them in the last section of the production, although I am not sure how much of the very end of the story many people took in, because having got everyone on their feet to dance and sing along, there was still about 10 minutes of story to complete after that.  I think many parents with restless children were expecting that to be the end, so I felt for a few parents having to quieten down their children and try and get them to listen to the very end of the tale.  The other issue is something that I struggle with everywhere we go – the volume.  My own son winced at the loud music a few times and the little boy in front of me had his fingers in his ears on more than one occasion.  I am not sure why every cinema showing and production we go to these days is so loud, but at nearly 50 (so my hearing should be less sensitive these days) I found the music too loud and so it’s not surprising that younger, more sensitive ears found it too loud as well.

All in all I loved the venue and my son and I were very glad we went.  It was something a bit different in a beautiful, atmospheric venue.  The cast are all talented and the production clearly made every effort to offer something for everyone, from the delightful, sparkly ‘Snowflake’, the rough and tumble of the other elves, the humour and the circus tricks to the big man himself.  It was a magical Christmas spectacle, but just be aware that you might have to manage some restlessness for the very young.

Kate Richards

Get the Chance

Celebrations, Theatre

Review Castellana, Cardiff Castle by Rhys Payne.

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out of 5 stars (4.5 / 5)

Around a year ago it was announced that Cardiff’s Winter Wonderland would be relocating to the historical Cardiff Castle (due to COVID concerns) and so I and a few friends thought that we would walk through the city center dressed as Santa and his usual companions. Apart from the excited faces of children running up to tell us they have been good this year, the actual event was extremely disappointing! The skating was frequently closed and reopened due to transmission rates and the majority of stalls were closed with those that were open were mostly selling the same thing. Therefore when it was announced that a festive festival would be landing in Cardiff Castle, I was concerned it was going to be a repeat of the lackluster event. However, I could not have been more wrong! This year the Castle has been given a festive make-over with most fantastical pop-up theatre, luminous decorations, and a plethora of stalls for everyone to enjoy.

This production marks the second show we have seen from the Castle’s Spiegeltent festival the first of which being Santa’s Wish where I talked about for me Christmas is all about the child-like wonder that floods over you as Santa bellows his iconic catchphrase. As we get older the magic of Christmas starts to fade away and we our perspectives begin to change. Sometimes Christmas is not about that warm fuzzy feeling in your belly, sometimes it is about purposefully finding your way onto Santa’s naughty list and being your own “Ho, Ho, Ho!”

This brand-new, mature cabaret event is unique in the fact that it was hosted mostly by different arrangements of three separate cast members. We were introduced to the fabulous Velma Celli (who is west-end star Ian Stroughair behind all the name-up) who is all of my cabaret dreams come to life on stage! I am absolutely in love with the sparkly outfit they wore at the beginning of the performances which acted as a disco ball by reflecting the stage lights beautifully. They also helped to drive the pace of the show with hilarious interactions with the audience (including stealing my sequin Santa hat and handing to the people next to me) and delivering exciting introductions for many of the acts. On top of all this Velma also performed an excellent rendition of the hit song “Let Me Entertain You” which introduced the host to the audience as the almost master of ceremonies.  We are also introduced to ‘the Magician’ Alex Phelps who has somewhat of a storied history with the previous host. He also helps to introduce the final host and mystery guest of the evening Ana played by Vikki Bebb after randomly selecting her from the audience and hypnotising her to be the star of the show. I do think that the inclusion of selecting her from the audience was convoluted and was very clearly an intentional plant that took away from the rest of the very live and at times highly dangerous acts to follow. I have to admit that there was an underlying storyline to the show about the re-discovery of a mythical yet fictional Castell Annwn but I missed many of the plot points as these details were shared of overwhelming audience reactions.

The first act to officially grace the stage was the fire Fox Angie Sylvia who delivered a mesmerising burlesque/fire swallowing number which ended with her setting the remnants of her outfit of fire while still on her body! The sensuality of stripping combined with the danger of fire breathing made for a totally fascinating act that had me in the edge of my seat throughout! One of the acts that had the biggest reaction of the night was Brett Rosengreen who helped to showcase male burlesque which is something I have not seen a lot of before! It can only benefit the art form if more people are aware that burlesque is for anyone and so it was fantastic to see these performers a part of the line-up! If this performance by Brett is anything to go by then I cannot wait to see more male burlesque dancers in the very near future! His cowboy-infused number was so dramatic and sensual with just a splash of humour as he poured what appeared Jack Daniels over himself and the stage which just added to the sensuality of his number. The pairing of Yann LeBlanc and Sophie Northmore (under the duo of hand-to-hand) delivered an amazing, gravity-defying balancing act where the latter would contort and maintain the most insane positions as the former supported and functioned as the much need muscle. This performance was not only elegant and beautiful but also let the audience wondered how it was all possible which is the sign of an incredible circus act. I have to say that the silk routine by the flying man Joe Kelly was one of the best aerial routines I have ever seen! The way that Joe can rapidly wrap himself into the silks to twist, flip and dangle in the most precious positions was incredible to watch and also had me on the edge of my seat throughout. There were very few pauses between positions (which is usually a concern of mine during aerial numbers) which made the entire act extremely smooth and fluid for the audience.

Overall, Castellana is one of the sexiest shows this Christmas and (although we cannot make guarantees) may be the reason you end up on Santa’s naughty list this year! It is a wonderfully vibrant yet sensual show that is clearly intended for a more mature audience (due to the nudity and sexual references throughout) but this is absolutely a show to catch on your next girls/guy’s night as there is something for everyone! I would rate this production 4.5 stars out of 5!