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Theatre

Summer Season announced at Theatr Clwyd

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Theatr Clwyd today announce a massive summer season of activity. The season boasts an incredible mixture of musicals, comedy, drama, music, and family activities. The venue welcomes the return of many community performers that have not been able to take to the stage since before the pandemic.

Theatr Clwyd produces brand new productions in this season. Celebrated Virgins, A Story of the Ladies of Llangollen (20 May-4 June) is a brand-new production written by Katie Elin-Salt and directed by Eleri B Jones. Based on the true story of Eleanor Butler and Sarah Ponsonby. When they fell in love, they were forced to leave their homes and cast out by society. Taking up residence in Llangollen they became minor celebrities, forced to witness their own lives written about by those who could never understand. Now, they are back, ready to take back the story that’s rightfully theirs – on their own terms.

A Pretty Sh*tty Love (8-23 July) is a drama that is based on the true story of a couple and their journey. Hayley wanted to fall in love – to find her prince. She never found it though, she never looked in the right place. Then along came Carl. This is a new play by acclaimed playwright Katherine Chandler and directed by Francesca Goodridge. This show contains challenging themes.

There are also two brand new musicals being co-produced with Theatr Clwyd this season. First up is Milky Peaks (1-12 April) Milky Peaks: the warmest welcome in the cold bosom of Snowdonia. However, under the gleaming pebble-dash, strange forces are rising: both political and supernatural. Can three lost souls and a shabby drag queen save the community’s heart? Milky Peaks reunites writer Seiriol Davies with collaborators Matthew Blake, Alex Swift, Dylan Townley and Áine Flanagan, the producers who co-created the critically acclaimed How to Win Against History. Advisory age 14+

Secondly in the Autumn Season The Famous Five: A Brand New Musical (23 Sept-15 Oct). Based on Enid Blyton’s multi-million-selling novels, this brand-new musical written by Elinor Cook, with music and lyrics by Theo Jamieson, is an exciting and heart-warming family treat celebrating adventure, bravery and friendship for everyone aged 7+. The show will be directed by Theatr Clwyd Artistic Director Tamara Harvey, and will be co-produced with Chichester Festival Theatre. When George and her dog Timmy find out that her cousins Julian, Anne and Dick are coming to stay, they’re pretty sure the whole summer is ruined. But out in the bay lies Kirrin Island and a ruined castle filled with mysteries to solve. Together they embark on a daring mission with the future of the planet at stake – a mission that might just be the making of the Famous Five…


The pantomime on offer this Autumn will be Robin Hood, The Rock ‘n’ Roll Panto! (19 Nov-14 Jan) The show will have all sing-along songs, fabulous frocks and dazzling sets that you’re used to. The venue can now announce that beloved panto dame Phylip Harries will return for all the usual panto fun.


Back to summer activities, and the Flintshire venue will welcome many touring productions. The Rise and Fall of Little Voice (18-23 Apr) stars Shobna Gulati (Coronation Street), Ian Kelsey (Emmerdale) and introducing the two-time Drama Desk Award Nominee Christina Bianco. This Northern fairy-tale explores small-town dreams and finding your voice. The show includes power ballads by Judy Garland and Shirley Bassey. Boeing Boeing (24-28 May) is an award winning comical-farce brought to you by London Classic Theatre. The Play That Goes Wrong (26-30 Apr) once again returns following its 2018 sell-out run in Mold. For musical lovers, Willy Russell’s tragic tale Blood Brothers (2-7 May) follows the story of twins separated at birth.


The venue once again welcomes National Dance Company Wales with their trio of dance performances One Another (10-11 May) and Ballet Cymru present their Mold debut, Dream (29 May) a vibrant, fresh, and joyous new ballet based on Shakespeare’s A Midsummer Night’s Dream.

There is plenty of comedy this season with monthly comedy clubs as well as Mark Watson’s show This Can’t Be It (12 June) after its postponement in January. Kiri Pritchard-McLean brings her tour Home Truths (30 Oct) as she returns home to Anglesey talking about all things from rescue chickens to learning Welsh.

This summer sees the return of Family Arts Festival (29-31 July) the weekend will be jam packed with boredom busting events, activities, workshops and shows all at low cost. Keep your eyes peeled on social media for more details. If you can’t wait for that, come along to Julia Donaldson’s much loved children’s story The Gruffalo (13-15 May) full of songs, laughter and monstrous fun, also join Twirlywoos Live! (20-21 May) for an adventure in their big red boat.

With music from Dionne Bennett and the Royal Welsh College in their performance Blue Summer (22 June) and Rush Theatre presenting The King of Reggae (1 May) there is something for everyone and there will more classical music concerts to be announced on the 8 May.

Theatr Clwyd welcomes back the following community performers to the venue, Jaxx Martine’s Popstarz Academy (26 June), Footsteps Dance (28-29 June), Shirley School of Dancing (1-2 July), Clint & Nikki Theatre (4-9 July), Whitton Morris School of Dance (14-16 July) and Elsberdance (21-23 July) and Elite School of Dance (25-27 July).

Theatr Clwyd Members enjoy priority booking until the 22 March when all events will be on sale for the public.
To book these and many more please visit Theatr Clwyd’s website www.theatrclwyd.com or by calling 01352 344101. If you would like to become a member or to learn more about exclusive membership benefits, please visit www.theatrclwyd.com/give/membership

Opera & classical

REVIEW MAHLER’S FIFTH SYMPHONY, BBC NATIONAL ORCHESTRA OF WALES, ST DAVID’S HALL BY JAMES ELLIS

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out of 5 stars (4 / 5)


I’ve been slow to return to our BBC National Orchestra after restrictions have lifted. For me, they remained a large part of my concert going in Cardiff, with many dates in the cultural calendar. 


Finally back to seeing them, a concert of Grace Williams and Mahler would dominate an evening. Born in Barry, Williams is evocative in her Sea Sketches, a vision of the Welsh coast during her exile in London in WWII. They give off a clear British feel, Benjamin Britten would trump this mood with his opera Peter Grimes a year later. Written for just string orchestra, it finds a way to depict the sea through scales and a tense underlay of notes. The chippy Sailing Song lifts the air and Breakers impresses, with he final movement Calm Sea in Summer being the most celebrated extract. More of Williams in the canon could only be a good thing.


The German conductor Christoph König is in demand internationally. It was in the 5th Symphony by Mahler that he really got to show off, bringing these stalwart players to attention. I might be sad to say that some moments in the brass were a little off, yet for a work which is about 70 minutes long, we can let that go. Also live on Radio Cymru, this large Cardiff audience lapped up this grand picture that the infusion from he Austrian composer. Some highly intense moments with the percussion and brass add to this sound world, the famous Adagietto a soft and somber ten minutes, a must needed rest bite from the dower thoughts and irony.  


I’ll confess this work is over played, been forgotten by major orchestra for the some decades. BBC NOW have embraced the piece, with most of his other symphonic works along the way. My heart yearns for the lesser heard things, the 2nd and 3rd Symphonies are extremely powerful examples. The visions of the Alps, forrest, waltzes, misery and the universe are never far away from Mahler, the 5th having some of the finest examples. The composer went through a lot in life and at this time I’m thinking of my own heart break, loss and health conditions. 


We hope the orchestra will continue with a more adventurous programme, something they were well regarded for in the past.

Festivals

Review WOW Festival 2022- Southbank Centre

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Review by Tanica Psalmist

out of 5 stars (5 / 5)

The ‘WOW’ Festival ‘2022’ kicked off with a BANG!!! from the 11th to the 13th of March there was an abundance of talks, shows & presentations to explore! With it being my FIRST ‘WOW’ experience – I was eager to attend every event kicking off. ‘WOW’ had a profound effect on me and from what I saw; I know I speak on behalf of the thousands of attendees present. And here’s why! 

Several amazing female entrepreneurs promoted their jewellery, self-care to skin care & home-made jams, spreads & beauty products from their stands. It was sensational to witness a sea of courageous woman in the open market area promoting their individual businesses, charities, campaigns & organisations. Passionately inspiring, encouraging & truly owning their craft which impacted women of all ages to feel empowered & gain self-confidence which additionally gave ‘WOW’ a distinctive atmosphere and contagious energy. 

The ‘WOW’ (women of the world festival) is an annual arts and science festival based in London. There are 42 WOW festivals in 23 countries that celebrates the achievements of women and girls. ‘WOW’ is a feminist global movement that was founded by a motivational women named Jude Kelly in 2010, whom I was fortunate to meet.

Jude Kelly alongside the national and international speakers expanded on the phenomena of enabling all females to thrive against the limitations of the patriarchy, discrimination, inequality, sexism, racism, etc. As well as the objectives & significance of dismantling the narrative of white supremacy & building on the continuation of strong nation building to give rise to women from all over the globe majestically sharing values & beliefs in sisterhood, unity, empathy, support in political, mental & emotional battles affecting black women, trans-women, Islamic women & non binary.

There were performances from huge talents like artists Baby Sol & Laura Mvula, alongside unique musicians. I was fortunate to have watched a play called ‘Maryland’ which is only 20 minutes long, but was extremely intense, potent and well executed.  The message touched on the policing system, corruption & the vulnerability of all female victims globally let down by state. During the Q & A after the play ‘Maryland’ it was nice to know the script is being used in schools, especially in drama classes to help raise awareness and allow space for influential and educational purposes for young individuals to learn mindfully. 

The thousands of people who attended ‘WOW’ had travelled across the globe to be present for the ‘WOW’ festival. I was grateful to speak with individuals who’d travelled from Bangladesh, Norwich, Birmingham, Essex, Greece & many more cities and foreign countries. The line-up of each feature artist such as the influential activists, poets and award winning authors that are extremely rare to see in person, were happy to meet, talk, bond and beautifully connect with other like-minded individuals such as Candice Brathwaite, Bridget Christie, Patrisse Cullors, Elizabeth Day, Bernardine Evaristo, Deborah Frances-White, Natalie Haynes, Jude Kelly, Marian Keyes, Suhaiymah Manzoor-Khan, Warsan Shire, Pandora Sykes, Lisa Taddeo, Grace Victory and lastly Angela Davis – who’d joined virtually as she couldn’t be with us in person.

‘WOW’ encourages everyone regardless of their gender to join their change markers program – how could I not join!? The organisers team efforts were efficient, ensuring that they delivered to satisfy all attendees. Wow is an experience to remember whether it’s your first WOW experience or Tenth! The festival is Impactful, educational & inspirational worldwide! I look forward to seeing what WOW 2023 has in store!

Film & TV

Review, Life and Death in the Warehouse, BBC Cymru Wales, by Gareth Williams

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out of 5 stars (5 / 5)

The first thing to say is that nobody dies. Yet that is hardly a ringing endorsement of the working practices on show in Life and Death in the Warehouse. The BBC Cymru drama lays bare the secret world of online distribution centres. And for anyone used to the quick and easy clicks of internet shopping, this is a must-see to make you think twice before placing your next order with Amazon. It makes for hard-hitting and eye-opening television. This is the worst of consumer capitalism.

Megan (Aimee-Ffion Edwards) has been accepted on a fast-track graduate scheme at her local centre. Becoming a trainee manager, she is tasked with ensuring that her team of workers keep up to speed with their daily ‘pick rate’. She is required to monitor their movements constantly via CCTV, praising those who exceed the target and calling out the ones who fall behind. Childhood friend Alys (Poppy-Lee Friar) becomes one of the latter when she confines in Megan that she is pregnant. Instead of receiving assistance and the appropriate support however, Alys is subjected to a ‘personal enhancement plan’ that remains fixated on the numbers at the expense of her health and wellbeing. It is hard to believe that companies operating in 21st Century Britain would treat workers in this way. Yet as it declares from the outset, “This film is inspired by hundreds of real stories”. To say it is shocking then is an understatement.

Director Joseph Bullman ensures that there are plenty of close-ups, with the majority of shots trained on the faces of the actors to capture the intensity, pressure and emotional strain that their characters are under. It means that their environment is pushed right up against the screen. There is no getting away from it. We become embroiled in the ideology of this high-performance workplace, not only witnessing its effect on Megan and Alys but being subjected to it in some way ourselves such is the visceral nature of the storytelling. Edwards brings an incredible vulnerability to her role. She is at once very different from her infamous turn as Esme Shelby in Peaky Blinders. Yet in spite of her obvious nerves and eagerness to please, there is something of the steeliness of that character that seeps in as the drama progresses. It becomes a negative force in this instance however, used to block out a compassionate and caring side to Megan in keeping with the ‘customer-fixated’ culture that she finds herself trapped in. Friar, for her part, puts in a noteworthy performance as one who experiences the most extreme impact of that culture. The gradual decline in Alys’s physical ability to undertake the tasks at hand, and the increasing level of stress she finds herself under, is acutely felt, in part due to Friar’s concentrated effort to keep her character’s emotions in check against a backdrop of sustained bombardment under which the exhaustion, tears and pain slowly to show.

In a sense, both of these characters are subject to the injustices of a system that exploits, dehumanises, and almost kills them. The obsession with media PR over and above medical concern for an employee is but one unbelievable instance that breeds anger in the heart of the viewer. To understand this as reality takes some coming-to-terms-with, not least in the face of the preposterous responses of the management team. Yet Craig Parkinson (Danny) and Kimberley Nixon (Donna) play their roles with such deliberate ease that the manipulation and false empathy emanating from their characters’ intentions becomes entirely plausible. It makes one very aware of the insidious nature of language; and how it can creep unsuspectingly into relationships.

Life and Death in the Warehouse brings us the best in factual drama. It shines a daring light onto the unseen but now-necessary world of warehouse workers who are at the coalface of our online purchasing habits. It finds the companies who ‘employ’ them, “Some… you will know, others you won’t have heard of”, seriously wanting. Bullman directs in the same unrelenting way as he did with its predecessor, The Left Behind. Meanwhile, Aimee-Ffion Edwards and Poppy Lee Friar lead a superb majority-Welsh cast in depicting the dark side to our unrelenting consumerism. It should make us pause a moment and take note. It should even make us turn to look for something better. It shows that the rights fought so hard for in the past are in danger of so easily slipping away.

Click here to watch on iPlayer.

Reviewed by
Gareth Williams

Music

Review Taro, St David’s Hall By James Ellis

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out of 5 stars (4 / 5)

Percussion. Perhaps my favourite instruments and part of the orchestra. With students from the Royal Welsh College, dubbed Taro, they presented an exhilarating bend of music for the sleepy lunchtime slot at St David’s Hall.

Steve Reich is the grand old master of the minimalists, some might feel his looping effects make for a one trick pony. His ideas have not processed a lot of over the decades. Through this, the music is always delightful and unique. The musicians here started off with the first movement of his Mallet Quartet, which features a smashing melodic line, the sheen of marimbas creating a landscape of joy. With his Six Marimbas, we got the same themes and little variations. Turns out the students have this piece as their music exam the day after the concert.

Though they might lack the machine like drill of Colin Currie and his ensemble, they impress, this never being easy music to take lightly. Focus and endurance are the name of the game…
Ivan Trevino and his 2+1 continued a minimalist exercises, in a piece feeling quite sincere and formulated. The stand out piece of the concert has to go to Trio Per Uni by Nebosha Zivkovitch. With three of the players sharing a bass drum and a smattering of bongos and metallic bowls. Inspired by the pounding nature of Japanese Taiko drumming, this alumni composer has written a piece that should see a fair amount of popularity, such is its appeal. I found it stirring and easily accessable, the slamming wall of sound never ending, with the occasional shout from the three guys playing. Sensational.

A light, bright Ravel arrangement of his Alborada del Gracioso followed by Safri Duo. I’ll take or leave this French composer, who usually relied on a lot of pith in his musical output. With a shared marimba for two players, the piano work gets even more silly, with the flurry of high notes and as an adolescent guide to daydreaming. Nice stuff, if a little saccharine. A first year student at RWC, Elaina Charalambous and her Kinesthetic had a lovely feel to it. The plodding bars for ten percussionists had sometimes absurd moments of tutti, really giving the work a wink and a whistle to the listener. Certainly another young composer of note. 

Music

Review, Shades of Ham, Rona Mac, by Gareth Williams

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out of 5 stars (4 / 5)

Rona Mac describes the pink cover of her latest EP ‘Shades of Ham’ as a dichotomy. It is a colour, she says, that is both “fierce, bold and strong as well as delicate, floral and soft”. It seems a particularly fitting description for an artist who finds strength in vulnerability. But it also captures something of the sharp contrasts that imbue this record. The Welsh singer-songwriter is perfectly capable of packing a punch one minute and tenderly caressing the next. Not only is she inspired by the Pembrokeshire landscape in which she lives, but the rugged cliffs and sloping green fields seem to represent her music too.

Opening track ‘Something Good’ oozes intimacy. There is something about those ambling guitar loops and sauntering vocals, carried over from her debut album ‘Sheelah’, that transfix, and traverse the line between light and shade that defines her work. Unvarnished truth-telling mixes with splashes of colour that speak of hope, not only on a personal level but a political one too. ‘Polidics’ is a well-versed dig at those in power. The pounding beats as Rona speaks of the privileged “men in jackets sit[ting] importantly… pouring port in front of me” contribute to a deeply-held frustration at the way the country is currently run. Add into the mix a damning critique of consumerism, with its “money wrapped in lights so take it”, and you get a sense of the raw honesty and unbounded personality of this quietly-countercultural artist.

‘Polidics’ does not remain in a state of anger. Rather, it is a song of two halves, the second of which moves on “to where they cannot find me”, amidst “the flowers and the grasses”, from which “we’ll rise, a bunch of honest creatures fill the skies”. Combined with a more free-flowing alt-pop sound, it makes for a track that is ultimately casting toward a better, brighter vision of the world. On a more practical level, it also prepares the way for the softer sound of ‘The Road to Your House’. Here, the usual shimmering soundscape is stilled by the clarity of the acoustic guitar. Suddenly, we are witness to a beautifully-told story through folk music that feels miles away from the frustration of a few minutes ago. Sadness and regret still seep into its reflection but there is also a sprightliness contained within. The guitar solo in the middle echoes such sentiment, and is easy to get lost in. ‘Smoke’ has a similar ruminating quality. It reminds me a lot of Georgia Ruth’s album ‘Mai’: soothing and affecting; complex, even in its simplicity.

*contains strong language

Final track ‘Paper’ has the same two-toned substance as ‘Polidics’. On the one hand a love-letter, on the other a seething criticism, it mixes alt-pop beats with acoustic reflection padded with the sound of waves. Similar to ‘Carageen’ by Jodie Marie, it suggests that Rona Mac’s Pembrokeshire location offers a kind of grounding, a place to which she escapes as well as from where she writes her songs. It certainly seems to have offered her the freedom to not be bound by conventions. ‘Shades of Ham’ continues to showcase this genre-fusing approach. It is a record that is undeniably Rona Mac. May she never compromise on that.

Follow Rona Mac on Instagram/Twitter @RonaMac_Music

Reviewed by
Gareth Williams

Opera & classical

UPROAR: Scenes From A Street, RWCMD Review By Lauren Mallin

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out of 5 stars (4 / 5)

Escapism.

That is what we are all coveting right now, isn’t it? To be transported to a world devoid of distractions, anxiety, and exhaustion – even for just a couple of hours. I was lucky enough to find a welcome slice of escapism thanks to the talents of contemporary classical music ensemble UPROAR’s latest production, Scenes From A Street.

Now, full disclosure. I am not a classical music expert. Nor have I ever claimed to be. However, I do champion anyone who wants to break barriers and make the arts an ever expanding and inclusive space. UPROAR’s claim to seek ‘new ways to break down the fears and misconceptions about new music’ had me instantly intrigued. Fear and misconception are words that are easily equated to artistic practices like contemporary classical, due to many people (myself included) feeling as though they can’t engage because they lack knowledge. This promising welcome from UPROAR gave me the confidence to take that leap and give myself over to the classical world for the evening.

Scenes From A Street consists of works from five composers based in Wales, each presenting a piece which captures UPROAR’s ethos of bringing ‘contemporary classical music into the heart of everyday culture’ – a phrase we don’t hear often enough. Again, there is no prerequisite here to be an aficionado of classical. If anything, having little prior knowledge presents the experience in its truest form, allowing full immersion in the musical story.

Each piece provided a unique sound and style, instantly transporting the mind to various locations, scenes and scenarios. The entire experience is one that initiates all the senses and emotions, resulting it a truly unique experience and allowing the audience to really feel what is played out in front of them. From states of calm and innocence to unsettling doses frenzy and panic; if you are looking for a way to allow your brain to switch off from worldly distractions, Scenes From A Street provides this with ease. Immersion and escapism were particularly present in Guto Pryderi Puw’s ‘Popping Candy’ – a beautiful ode to the delightful fizzy fun found in the nostalgia of the popular childhood treat. It was especially lovely (and skilful) to present the audience with their own pack of popping candy at interval, taking the immersive musical experience to new levels and allowing us to create our own crackling composition while awaiting the next musical morsel.

Of course, the skill of the composers shines through that of the musicians tasked with breathing life into their work. There is nothing quite like witnessing an ensemble lost in the rapture of a skilfully crafted piece of music. It is almost bewitching to bear witness to the passion, enthusiasm and connection each musician has to the works they are performing. A truly joyous and moving experience and each member of UPROAR’s ensemble deserves the highest ovation. A special word of commendation is also directed to the wonderful staff at RWCMD – extremely welcoming, helpful and knowledgeable, which is never to be underestimated.

All in all, to the untrained ear of contemporary classical like myself, UPROAR’s Scenes From A Street will feel wildly new – but that is exactly what they set out to achieve. Although it can feel daunting at times I would highly recommend, regardless of your musical persuasions, to give yourself over to the music and allow any fears and misconceptions of contemporary classical to escape. You never forget your first, and I’ll never forget my first evening with UPROAR.

UPROAR Scenes From A Street is playing at Aberystwyth Arts Centre on 25th March and Borough Theatre @ The Priory Centre, Abergavenny on 8th April 2022.

Opera & classical

REVIEW HARPS OF THE ROYAL WELSH COLLEGE, ST DAVID’S HALL BY JAMES ELLIS

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out of 5 stars (4 / 5)

This St David’s Day is filled with worries. We’re in the post-pandemic timeline, with the worry of war also everywhere. My own thoughts on nationhood are usually compromised today and sometimes not feeling Welsh enough does enter my mind.

If only for an hour, the Harp Ensemble from the Royal Welsh College made everything okay, with a fine programme native to Wales and artists inspired by our country. Monika Stadler evokes the Preseli Skies in a light opener, the ladies of the ensemble warming up for this concert. It’s the interplay between each harp that was highly stimulating. You didn’t know where to look at times. Melodies abound in this fine little piece.

David Watkins’ Petite Suite was another sure fire delight, the Nocturne in the centre particularly noteworthy, the Fire Dance finale had some pleasant dynamics as well. In a more austere choice, one of Wales’ biggest 20th century composers: William Mathias and his Zodiac Trio made more of a chin stroking choice. Each movement is the Zodiac sign of the musicians who premiered the work (Pisces, Aries and Taurus) and Mathias isn’t afraid to try more experimental modes, even if it still feels quite conservative in nature. Flickers of Messiaen and serialism hit the ear, though the combination of harp, flute and viola might not sound as enjoyable as you would think. Through this, I still want to hear more of Mathias, who seemed to have a big impact on Welsh music.

Our host for the concert, tenor Rhydian Jenkins delivered three sublime Welsh songs. The delights of Mae Hiraeth yn y Môr and Llanrwst really made this special, Jenkins having a bright, easy voice with a little strain in the high bits (he mentioned how hard the latter song opens with some very high notes). Dafydd y Garreg Wen in an arrangement by Meinir Heulyn saw Jenkins sing with the return of all six harpists in another superb song which proves why we are known as the land of song. Wrapping things up with the Jig-a-Jig from Catrin Finch’s Celtic Concerto in an arenment by Jeff Howard. Having heard this before, Finch’s mastery over the harp is evoked in this pristine and sunny work, with it’s opening a tune worthy delight, never waining and always uplifting. Perhaps things wont be so bad after all?

Harps of the Royal Welsh College: Nia Evans, Cerys Rees, Jemima Small, Matilda Whates, Yasmin Richards & Bethany Coggon. Tenor, Rhydian Jenkins, flute Lila Bhattacherjee and viola, Michael Cilburn.

Theatre

REVIEW Catch Me If You Can, New Theatre by Barbara Hughes-Moore

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Starring the Man from Atlantis himself, the legendary Patrick Duffy, Catch Me If You Can is an intriguing thriller that will keep you guessing right up until the final moments.

While it might sound like a stage version of the Tom Hanks/Leonardo DiCaprio crime caper, the play is in fact an adaptation of Robert Thomas’ French thriller, Trap for a Lonely Man. This entertaining new production is produced by Bill Kenwright and adapted by Jack Weinstock and Willie Gilbert. The story follows Daniel Corban (Duffy), an ad exec who’s honeymooning in the Catskills when his newly-wedded wife goes missing. Fraught with worry, Corban enlists the help of his detective pal, Inspector Levine (Gray O’Brien), but his prayers are instead answered by the local priest (Ben Nealon), who brings the erstwhile Elizabeth (Linda Purl) home – only for Corban to denounce her as an impostor.

A triptych of performances make this a worthwhile trip to the theatre. Duffy won hearts as Bobby Ewing, Dallas’ favourite son, and here demonstrates impressive range as the frantic Corban, all shabby elegance and harried grace. He shares his most riveting moments with scene (and life) partner Purl (Happy Days, Homeland), who draws both sympathy and suspicion as the enigmatic Elizabeth. And O’ Brien, known to most as Corrie’s treacherous Tony Gordon, plays the wearied, washed-up detective with sardonic aplomb. There are excellent supporting turns by an on-form Nealon (Soldier Soldier) as well as Hugh Futcher, Paul Lavers, and Chloe Zeitounian.

Directed by Bob Tomson (Blood Brothers, Evita), the story is clever and engrossing and the cast’s lively performances make for a very involving whodunnit. The intriguing stakes are heightened by the ‘60s setting – modern enough to feel relatable, distant enough to ensure that the mystery can’t be solved through more convenient means like CCTV, smartphones and DNA evidence (still a nascent form of technology at this stage). Julie Godfrey’s palatial ski-lodge set traps the actors in a decadent cage, and the rising tension is punctuated by Matthew Bugg’s sound design and Chris Davey’s lighting.

While the pacing could be tighter in parts and the mix of comedy, drama and mystery takes a minute to commingle, it has all the ingredients that made Columbo and Murder She Wrote such a treat. There’s a reason they’re called ‘cosy mysteries’. While Bobby Ewing always tried to do the right thing, can the same can be said of Daniel Corban? Well, that’s for you to find out. With contemporaries like Mad Men’s Don Draper, it’s anybody’s guess. Fun, smart and engrossing, Catch Me If You Can is a ripping yarn with the kind of twists and turns you’ll want to unravel for yourself.

Catch Me If You Can is playing at the New Theatre Cardiff through to Saturday 5th March 2022.

Review by
Barbara Hughes-Moore
 
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Dance

Dance, science and digital collide in this new production by Jack Philp Dance.

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With dates across Wales in Swansea, Cardiff and Bangor, this hour long evening of contemporary dance will take you on an abstract and athletic journey through the cutting-edge research of Professor Paola Borri. OPTO NANO was created with an exceptional cast of five performers and explores pioneering cell imaging techniques using microscopes and lasers. Using dance to bring biophysics to the stage, the choreography proudly champions collaboration from across different worlds in a dynamic burst of movement, light and colour. Powered by an electronic sound score from critically acclaimed Welsh composer R.SEILIOG, the work celebrates the arts and research that modern Wales has to offer.

https://youtu.be/X1dpIOeY6rc

Jack Philp Dance is lead by choreographer and director Jack Philp. A Wales based artist with a fascination for science and digital technology. Lead by the latest advancements in the world around us and driven by a love for the physical body, his work seeks to capture the wonder in those things through energetic, colourful and collaborative choreography. Jack has toured work with his independent collective as well as choreographed for companies and universities across the UK; presenting work on stage, film and for digital experiences. 

OPTO NANO tours Wales with dates in Swansea, Cardiff and Bangor from March – April 2022.

You can book your tickets here: https://www.jackphilpdance.co.uk/opto-nano-tour

3rd March: Swansea – Taliesin Arts Centre

19th March: Cardiff – Dance House

7th April: Bangor – Pontio

30th April: Cardiff – CULTVR LAB **immersive digital performance