In the heart of Leicester Square Theatre, the cast of Hamlet join forces for a night to remember. Filled with dark humour, spontaneity & creative formula, chaos is only ever around the corner from start to end. The rules explained from the start by the narrator are simple – tools and a bucket to be used by a member of the audience to help the performer either get more tipsy or in case of the alcohol finishing up too soon.
The layout features trained actors, a narrator, & Lysander who gets to drink his way through A Midsummers Night’s Dream; sailing through ‘Sh!tfaced’. Lysander whilst drunk causes plenty of commotion due to being in scenes that weren’t his to get involved in, his character remains animated and predictably amusing, due to being gun-loaded with puns (fully intended) and quirky improvisations.
The uniqueness of this show is that every night will be completely different, as each night a different actor is drunk, giving off a different flavour. The second part of the show is defiantly more livelier, as the drunk appears quietly mellow whilst soberish, making his jokes at moments cliché and more punchy than hilarious. The atmosphere could create a more energetic crowd fixed on an engaging audience participation.
Charm & chaotic excitement become one in this show. With a fusion of playful pantomime, and the feel of a pub crawl – bringing the essence of British humour combined.
You can find out more about the production and book tickets here
We have missed the steady stream of thoughtful, original productions from Theatr Clwyd while it has undergone a major refit and renovation over the past four years. Whether it is an in-house production where all the costumes and scenery are made on site or from a visiting company the theatre has a long history of distinctive and entertaining performances. It is therefore a real pleasure to witness the reopening of Wales’s largest producing theatre.
It was in 2010 that a survey revealed that the building was reaching the end of its working life. Structurally it was becoming unsound and increasingly expensive to maintain. In 2016, a water pipe bursts flooding the dressing rooms. In 2017, snow fell through the top floor ceiling. The catering facilities needed upgrading, the kitchens not suitable to fuel a restaurant and the conveniences needed improvement. People joked about finding a skeleton in the lift it had taken so long to reach the top floor.
After the appointment of Tamara Harvey as Artistic Director and Liam Ford Evans as Executive Director an ambitious project to save the theatre and renovate it was tabled. The plan sought to update and future proof the building and diversify its range of uses. It would have an extension to the front, a new terrace and restaurant on the first floor with stunning views of the Clwydian Hills, a new double height rehearsal room, renovated production spaces for costumes and sets and updated backstage facilities to attract the highest quality talent. The outdoor performance space would be moved to front of the building.
The theatre has built strong links with the community in recent years and the renovation has sought to facilitate that further. There is a new arts and health suite suitable especially for young families with a play area both in and outside the building as well as a well-being landscaped garden. There is a programme of activities to help support people with health conditions through the arts. The theatre has become a Theatre of Sanctuary supporting those seeking refuge or asylum.
There is attention to detail within the renovation. Despite working with an older building, the place seeks to be environmentally aware, being gas free, harvesting rainwater and working towards carbon neutrality. The shape of the main auditorium has not changed, there is not a bad seat in the house anyway and the acoustics are great, but the seating, staging, orchestra pit and wings are all new. There is a safe viewing space for neurodivergent customers and a dedicated youth hub area where young people can rehearse, learn and play.
These plans could not be achieved without the support of the Welsh Government, Flintshire County Council and the Arts Council of Wales. This still left a daunting sum of £5 million to be raised by the theatre itself. It is a testimony to the affection for the theatre felt locally that it has been able to raise 80% of that figure, but you can still purchase a seat for £100 and name it
I came to a realisation tonight – I * think * I might be a groupie. After seeing Bad Clowns Comedy around 3 times along with their solo acts, this throuple, this bromance, continues to get better and better.
Not unlike the Cornetto series, these loveable rogues are friendly faces that you become accustomed to seeing, but each time, in a different and hilarious guise. While we are used to Sam, Christian and John, when they welcome us as one of them, josh with us and include us in the unscripted moments of fun, they still bring a new, fun and fresh approach to comedy, with new characters that still have that essence of them underneath.
On their final show of this year’s fringe, a packed house was full of an electric excitement, with genuine fans in the seats. This interactive performance invited the unexpected, with heckles and involvement that could have easily stumped a performer – not these lads. They took it, they ran with it and built on the naughty and the nuanced.
There is genuinely no point where you know what will happen next. Long Live the King! in a way, is what it says – it’s an age old tale of the line of succession but in true Bad Clowns style, with many a twist. However, the twists and turns, peppered with traditional slapstick (almost to the detriment of the Gilded Balloon Patter House’s ceiling), at times lewd and obvious jokes and (my favourite) a good ol corpsing moment when they try to fumble one another, it’s nothing short of surprising and genius. And again, in true Bad Clowns style, the ending is our choice – who will we want to be king? It’s all up for grabs and this trio are skilled enough to pivot off the potential change and the occasional heckle and surprise from us.
Bad Clowns: Long Live the King! is a laugh a minute, high energy feat in the comedy circuit. This group has only one way to go and that’s even further up!
The Last Laugh is much more than exceptionally talented performers doing impressions of three comedy greats of the past. The portrayals here are incredibly touching and eerily true to life in the tiniest expressions and mannerisms. Penned by Paul Hendy, this is a production that reaches beyond the public personas of these three giants of British comedy to reveal the personalities, the insecurities and the battles of the men beneath. It’s definitely a rib tickler of a production but it’s much more than that, with moments of poignancy and a final tableau that breaks the audience’s collective hearts.
From the moment Damian Williams appears on stage in vest, pants, duck feet and, of course, Cooper’s infamous fez, we are drawn to this infectious, honest, compelling performance. The voice, mannerisms, the easy way with the audience are all spot on; the ‘just like that,’ the laugh, the endless abuse of Bob Monkhouse, is all eerily accurate of the late comedian. His quieter moments counterbalance this perfectly, his blank stares into the mirror, the glance out to the audience as he picks up his props, alone. The final, heartbreaking scenes are delivered with absolute poise and the silence from the audience, where there once was laughter, is palpable.
Simon Cartwright’s portrayal of Bob Monkhouse truly captures the essence of the famous comedian and presenter whom many of us will remember from shows like Opportunity Knocks or Family Fortunes. The voice is spot on; it sounds like Bob is really on stage, once again the mannerisms and stage presence of this comedy great is exceptionally accurate. I was really struck with Simon’s way of dealing with Bob’s difficulties; a comedy partner who committed suicide, a disabled child, a difficult marriage. Although his character is quieter and more reserved than his co-stars he still stands shoulder to shoulder with them, which is impressive.
From the moment Bob Golding enters as Eric Morecambe, it’s as if the late comedian has bounded back to life on the Millennium Centre stage; Bob bounces across the stage with all the exuberance that Eric was so famous for. As with the other performers, it’s eerie. The voice, the mannerisms, the way of simply ‘being’ with the other comedians speaks of years of admiration of Eric and honing his craft to create him on stage. Sheer joy is counterbalanced perfectly with his quieter discussions about Ernie being like his ‘comedy brother’ and the family he never sees to pursue his comedy dreams in his duo.
So yes, this is a ‘laugh a minute’ as other critics have said, but what truly gives it its staying power is ultimately the portrayal of the human beings behind these facades. It was interesting to hear that the play had gone to New York and, although the theatre goers there didn’t really know the comedians being portrayed, it was the familiar ‘lived in’ experience of simply being human that still made the production resonate with the stateside attendees.
If you love any, or all three of these personalities then this is a must-see. But even if you don’t know their catalogue of work, it’s still an important piece of theatre to attend. It’s a masterclass in storytelling; the last twist of the story, the final flash of the mirror lights and the final call to stage are devastating and brings a tear to the eye where there were, only moments before, a ‘last laugh.’
The BBC Proms are only getting bigger. Yet there are some concerns from this writer. After a few years of trial gigs around the UK, official with the name, it now appears that the whole nation of Wales is not getting anything this year. This puzzles me, as we’ve had events in Cardiff, Newport and beyond. This is a really disappointing blow. What is even more bizarre is the removal of the full Prom schedule getting the numbers removed. This was also so easy when sorting tickets and so on.
In a plunge into the deep end, an all night Prom was an exciting and exhausting endeavour. Not done since the early 80s, this is no small feat and we can thank Anna Lapwood and the efforts of the team, who assembled the whole monster. Breaking into things at 11pm, Anna chose an accessible if somewhat arbitrary set on the grand organ in the hall. Eugène Gigout’s Toccata in B Minor is heavily leaning on JS Bach, though this opener felt like the herald we deserved. Her praise on TikTok has seen a large flowing and this is all fine. Olivia Belli and her Limina luminis evokes the film Interstellar in its sensual minimalism, a vision of an astronaut gazing back at the sight of earth. Choices from Pirates of the Caribbean might be the most typical, though her brief singing and flair in the sea shanties and drinking songs were hard to not enjoy.
From Dark Till Dawn: All Night Prom, Part 1-Anna Lapwood organ
Barokksolistene / Mamelukk, Bjarte Eike violin/director
Pembroke College Chapel Choir, Anna Lapwood conductor
as part of the BBC Proms in the Royal Albert Hall on Friday, 8 Aug. 2025 Photo by Mark Allan
In keeping with this merry vibe, Barokksolistene are a Norwegian folk band who excel in evocations of years past in taverns and pubs. We get a broad scan of Western Europe, naturally Scandinavia, Canada and further afield. Director and on violin, Bjarte Eike is leader of ceremonies, a charming silver fox with cheeky humour and some sour political swipes at the UK, its all rather fun. Whether or not musically it was a little twee or me I’m still on the fence about. Though moments of utter beauty shone and dancing beats would be met with movement and panache. Their encore was a phenomenal harmony that greatly touched, an Acapella joy that found real praise from this hungry audience. It would appear that their party continued even into their dressing room.
Anna Lapwood would not be done just yet (far from it!) as she would return to conduct the Pembroke College Chapel Choir. Whilst this was their first performance at the Proms, it would be Anna’s last venture with them after nine years of collaboration. I was impressed by these young singers, some of which Anna pointed out are not even studying music. There was a sensibility and vim out of them. Kerry Andrews opened with a sweet ‘All things are quite silent’, and Anna’s very own ‘Arise, shine’ were conventional in form and clever it their simplicity. I’ve some reservations about Eric Whitacre and his ‘Sleep’, I’ve never found it to be very potent. His novel ‘Leonardo Dreams of his Flying Machines’ is trite in some ways, breaking down the artists remarkable inventions in flight. The singers wrap up with winds and whistle noise in a tacky mimicry of these contraptions. Bob Dylan and his ‘Make You Feel My Love’, arranged by Lapwood, sent me over the sickly metre.
Well needed rests were spread throughout the 8 hours. Hayato Sumino from Japan gave an intimate piano recital, as there second set began things got much more intimate. Chopin’s Waltz in E flat and Polonaise are very famous and I found them decent fare. Hayato turned to the also present upright piano and played one of his own: Nocturne II: After Dawn. This slight venture was hushed and perfect on the sombre frame of the upright, its appeal lays in the gentleness. A take on Dance Macabre saw him on both pianos, in this busy arrangement by Liszt and H. Sumino. Lots of the music was fitting, the Dance included, skeletons jigging around the night as the cock’s crowing wraps up the party. The take on Boléro by Ravel was cut in half and less effective. Some percussive ticks and elbow slamming added to the drama of the latter few bars, though I doubt it works as well as its start: the grounding statement. Radiohead’s ‘Everything in Its Right Place’ and Like Spinning Plates ending the session and they were passable, on cello Anastasia Kobekina played in the later and this would tease into her own programme that would shortly follow.
From Dark Till Dawn: All Night Prom, Part 2-Hayato Sumino piano
Anastasia Kobekina cello
as part of the BBC Proms in the Royal Albert Hall on Friday, 8 Aug. 2025 Photo by Mark Allan
Anastasia’s time here is most certainly my favourite programme. By the time she was on stage it was coming up to 4am, the plucky audience around me has retired for the night and the intimacy would now reach utter concentration. Cherished Bach Cello suits were the mainstay here and I was loving it. Beginning with ‘O fronds virga’ from Saint Hildegard of Bingen, we met the sacred realm, then to stately Bach and Jonny Greenwood’s Postcard. The latter was written in lockdown and is so slight and under character, it is fifty seconds of cluttering string contact of little note. Vladimir Kobekin and his Narrenschiff (Ship of Fools) was the most theatrical and alarming. Dark and filled with mystery it stood out for its utter invention. I believe I recall Pēteris Vasks and his Grāmata čellam (The Book) – Pianissimo causing a stir in a concert in Cardiff with another cellist years ago. Most likely due to the actual vocalise of the player as well as cello playing simultaneously. Beautiful in its creation, unfettered by compilation it is a brief moment that glimmered. More Bach suites for the pot aligned with Boccherini’s Fandango, with foot stomping and cries aloud. Fabulous musicianship.
After this I began to falter, it had been at least five hours. String group 12 Ensemble were next and they kept some of the programme from their concert at Wigmore Hall the other week. I think the audience struggled with the demands of ‘Many Fruited Dog Tooth’ from Isabella Gellis. Having its world premiere at Wigmore (and this night its Proms debut) this oddly moss inspired near fifteen minutes was a slog, its chirpy and hushed tones would not aid this sleep deprived audience. Edmund Finnis in the Hymn, after William Byrd was effective and stimulating. Oliver Leith’s ‘Full like drips’ from Honey Siren and Oliver Coates’ One Without’ from the film Aftersun were the alluring pieces to win us over in their sincerity. I was not expecting to hear Olivier Messiaen on this night and his ‘Prière du Christ montant vers son Père from L’ascension wrapped up their time with subtle intensity.
From Dark Till Dawn: All Night Prom, Part 3: 12 Ensemble, Seckou Keita kora/voice with Mohamed Gueye percussion, Sleeping At Last with 12 Ensemble, Pembroke College Chapel Choir, Anna Lapwood as part of the BBC Proms in the Royal Albert Hall on Friday, 8 Aug. 2025 Photo by Mark Allan
My face was falling off after this, I had crashed and the ample caffeine intake was intense. A man who had travelled from Chicago remarked how “crazy” it was I was drinking coffee so late. No doubt, coffee sales on the night were a success too. A touch of diversity with Seckou Keita from Senegal would continue as the penultimate act. On kora, he plays the harp sounding instrument with a fluid melodic ambience. It’s pleasant, yet I wouldn’t say I was nourished by it. The singing is charming, as well feel the heat and the whimsy of his homeland. On percussion Mohamed Gueye added textures to the fray though was not heard enough, his time brief yet energised. 12 Ensemble would pop back for a finale flourish in ‘Future Strings’ to delight his send off.
It would be fitting that this colossal concert would wrap up with an artist called Sleeping At Last. Hailing from Chicago, Ryan O’Neal got to the piano and most of the musicians from the night joined him to the climatic end. These are songs which are noble and insightful, yet they lacked any real punch. His vocals impress in typical soul and pop fashion and the songs written about the twelve personality types is inspired. Simple songs names such as ‘Nine’, ‘North’, ‘Touch’ and ‘Sight’ are a choice and one which seems to fit. This could have easily been Sam Smith or other pop stars I’ve lost the names of at present. Somewhat anticlimactic, the audience had given standing ovations for some of the acts, yet here appeared simply too tired to do one last time.
Extensibly, a concert that will go down in history, though the idea won’t see the light of day for quite some time.
What is rare for me is a return to the past, of the television kind anyway. Those who know me are aware of my rewatch of Twin Peaks, after David Lynch’s passing. That is the true exception.
Through rough, AI looking videos on YouTube I had the seismic shock of nostalgic flight. From this, I can proudly say I do remember The Odyssey and it is easily one of the finer shows made for kids television, so much so that adults can easily find a way in as well.
It would have been either Nickelodeon or Channel 4 that I watched it. What I do remember most are the opening credits and the impactful, defining moment of the story. Yet, have I engaged in the Mandela Effect…I am sure the show was called Coma? This leads into the story…
Made in Canada from CBC Television, the success of the series had to an impressive three seasons, though not all plot threads were wrapped up as expected. Created by Paul Vitols and Warren Easton, I do wonder if there was any inspiration from Twin Peaks, The Odyssey would have just been aired as the cult show was losing its main allure.
The premise is layered, especially for its main audience. Jay, an 11-year old boy is keen to join a local tree-fort club, the lead of which is Keith. Jay brings his late father’s precious telescope as an offering into the club. Things get murky with bullying, Donna, Jay’s disabled friend tries to keep things cool. In a desperate attempt to leave, Jay uses ropes to slide down to the ground. This gives way and he falls in epic fashion only then to have a might thump on a stone. For most of the next two seasons, Jay is in a coma, yet another realm is revealed as he appears to create stories in his head about The Tower and its surroundings. No adults live in this land and children appropriate numerous adult jobs and cultures. The show is fantasy, yet is still rooted in reality, as the event mirror in both worlds. The show never had the intent to speak down to children and this is one of its best assets.
I’m now aware I cannot speak of the show with out a dreadful sense of tragedy. Both male and female leads have passed both extremely young, Illya Woloshyn in 2023 and Ashley Rogers back in 2007. Their deaths have led to some unsavoury fake news about what caused this and I must write with care here. Watching them grow up so fast over there three seasons is touching, but it was still a hard watch. Woloshyn had promise growing up into the dashing main character, yet at times his acting didn’t quite gel with the script. Other times he seems to really get it, his obsession with his apparently dead father (I won’t spoil too much here) and general teenage angst are absorbing. Im amazed just how much a show from the early 90s sucked me in like this.
I don’t recall watching till the end back in the day, but what we do get at the finale is a fine wrap up that could have expanded on the dynamic between children becoming grownups and adults respecting this. Many 90s tropes are here: the music…good lord the fashion! Though dated in may respects, the story still holds. A remake, which has apparently been in the discussions would not rival this rawness and clever sense of theatre. Ashley Rogers as both Donna and Alpha, was such a great young actress, who found praise also in the film Now and Then. Her sensibleness grounds Jay in both roles and her bookish persona is very charming. The trio is completed by Tony Sampson, best known later as Eddy in Ed, Eddy, n Eddy (fans of the show will know I’ve spelt this right), the bully who becomes friends with Jay. As the third season goes on Sampson changes with clear weight loss and the gruff traits of the role are still their. His fashion choices might just be the most “radical”.
What must be of note is the fact that a young Ryan Reynolds is in the fold, playing Macro and Lee. Dressed up like a fascist, even in this early role you can see he’s having fun, no doubt all the cast must have found this eventful. Macro is the make shift right hand man to Brad (again won’t spoil here) and no doubt had acting lessons from an early age. Even his line “My poochy needs me…” could easily be from Deadpool. Andrea Nemeth as Medea and singer Sierra Jones, is fine casting, an actress who didn’t go on to do much else, yet really shines here. Her on-again-off-again pairing with Finger and Mic from a rebellious Mark Hildreath is also funny for its frustrated puppy love murmurings. Finger’s later doomsday plot is also absorbing.
Also surprising that a compassionate Janet Hodgkinson as Jay’s mum, Val didn’t do a huge amount of work either. In season three she is not seen for a few episodes, yet her vast efforts are to make sure her son comes out of his coma. There appears to be some rather dated methods of aiding someone in that condition: do we really think a bag of ice and loud noises could wake someone from a coma? It almost reeks of cult, the care facility Jay is sent to.
How does Jay know of this other realm when he is awake? Will he find his father in either place? Many questions arise. Broad themes are tackled and the troubles of being a young person are never belittled. I just adore this show for such a gentle and fine handling of the children. This is easily watched on YouTube, those who binge might be a little shocked with the darker edge of the third season, arguably the best.
Concocted from the brains of The League of Gentlemen writers, Jeremy Dyson and Andy Nyman, after Nyman walked past The Fortune Theatre, showing The Woman in Black. You can definitely see the inspiration that Ghost Stories draws from the Susan Hill penned classic, but it deviates and twists and turns in ways that could only come from the brain of writers such as the duo behind The League of Gentlemen!
The production is unusual in that its publicity material contains no stills or videos of the actual show, just audience reaction. This means I enter the theatre, (alone might I add!), with complete trepidation at what is about to happen! All I was aware of was that the show had no interval and no readmittance once the show had begun and, therefore, no escape! I also knew that it would be a collection of stories collated by our guide through the paranormal, Professor Goodman…
I feel with this kind of show, it lives and dies on the quality of its performers. Luckily, the talent on show here is clear and immediately obvious. Lucas Albion as Professor Goodman is the glue that holds this production together, bumbling onto the stage from an auditorium door and immediately into the hearts of the audience. His job is a difficult one; to hold the stories together and to entertain us in the interim. Lucas is brilliant, he holds the audience in the palm of his hand whether taking us through a slideshow or demanding the audience raise their hands if they themselves have had a ghostly experience. These sections could easily have lost the audience, but Lucas is a master at building the tension and at times the humour of the piece.
Our stories are portrayed by one actor per story. Again, these sections could easily become tedious, but the acting here is masterful. David Cardy portrays slightly crotchety, but endearing nightwatchman, Tony Matthews. Without giving too much away, there are long stretches here of quiet or silence, which David builds into tension with ease. He balances this perfectly with hilarious moments such as her berating of the poor Russian nightwatchman who keeps radioing him. I could feel the audience around me on the edge of their seats as Tony flashes a single torch beam across the stage and the final payoff resulted in screams mixed in equally with terrified laughter.
We blend seamlessly into the other stories which feature Preston Nyman as Simon Rifkand and Clive Mantle as Mike Priddle. Preston is perfectly cast as the hapless Simon who is driving home from a party in the early hours of the morning (without a licence, I might add!). His comic timing and sheer fright at the incidents that occur in his story are a sight to behold. The audience were roaring with laughter which immediately became jumping out of their seats and screams of fear. An excellent, balanced performance. Clive Mantle as Mike also blends comedy expertly with a nuanced, thoughtful moments too. His portrayal of ‘the prophet’ businessman is believable, his cockiness and confidence from the business world mixed in with his more tender moments about his wife and his fear at telling the story.
Alongside this talented cast, we have an impressive set created by Jon Bausor. The ‘intermissions’ between stories allow the sets to change with ease and they really are a sight to behold. Mixed with the constant billowing smoke which only helps to increase the tension, I was surprised at the sheer kinetic nature of the set which moves and flows around the actors and the illusions of depth and space that is created by the set design. Teamed up with constant, unnerving sound curated by sound designer, Nick Manning, excellent lighting (and lack thereof!) from James Francombe and very smart special effects from Scott Penrose, the production values of this show are incredible and, I must admit, unexpected!
All in all, this far exceeded my expectations in every sense of the word, made me jump (more than once), weaved a very clever and unexpected twist that I certainly didn’t see coming and gave me a huge sense of unease which is with me still today! I will definitely be keeping the secrets of Ghost Stories as, even if I was to try and explain what I had seen, I don’t think I would truly capture the essence of what the show achieves. Yes you’ll jump, you might scream, you might laugh hysterically but you will have a great night out and come away thinking about what you’ve seen for a long time to come!
If Wales was going to add yet another crime drama to its burgeoning shelf, it needed to be different. Thankfully, Death Valley brings a somewhat fresh and original take on the genre. At least as far as Welsh television is concerned. In the wider landscape, it falls neatly between the daytime fare of Father Brown and the comedic air of Only Murdersin the Building. Light, melodramatic, and not too heavy on the blood and gore.
I can only think that its primetime airing is down to the casting. Timothy Spall hamming it up in the lead role to mixed effect. It feels like he’s trying too hard sometimes as retired actor John Chapel, the hero of Gwyneth Keyworth’s slightly hyper detective Janie. The two of them bounce off each other with ease. A delightful mix of playful banter and sweetly serious moments creating a likeable double act at the heart of this quirky series. The trouble is, the performances seem forced at times. As if the humorous aspects are pushed too far. Toppling over into unnecessary farce which spoils what is otherwise a softly charming premise.
One of its strengths is a strong supporting cast of predominantly Welsh talent. Steffan Rhodri is in his element as put-upon DCI Barry Clarke. Alexandria Riley is a revelation as a strait-faced, dry-witted pathologist. And Mike Bubbins gives an excellent cameo as the desk sergeant in episode four. These are moments when the co-writer Sian Harries can be applauded for drawing extra humour out of the script. It doesn’t always work, but there is enough to bring a smile to the face more often than not. It contributes to what is, overall, an entertaining show. Its formulaic structure preventing anything more enthralling. Though its subversion of the traditional ‘reveal’ is beautifully and uniquely done.
With star turns from the likes of Vicky Pepperdine and Steve Spiers thrown into the mix, it feels like every effort has been made to ensure that Death Valley becomes an instant hit with the public. There is probably enough to warrant a further series, though I can’t get past what feels like its natural home on mid-afternoon BBC1. That’s not a criticism but rather a reflection on the nature of this series, which is wonderfully silly, surprisingly intriguing, and enjoyably amusing.
You can watch the full series on BBC iPlayer here.
Asmik Grigorian as Salome. Photo credit: Chris Paradise
(5 / 5)
I’ve really been savouring the stupendous opera concerts from LSO. We had sweet La Rondine back last year, Janáček’s brilliant Excursions of Mr Brouček in the spring and now an absolute belter. This concert version of Salome is their last concert of the season and what a fine choice to end with.
Rivalling the heat in London, this difficult opera by Richard Strauss is an acquired taste. This twisted, biblical tale is seen through the eyes of Oscar Wilde, a play which alone cause riots. The opera also added to the chaos with audiences losing it over the depictions within. Arguably Strauss’ masterpiece is an unflinching one act tale, stunning in its expressive delivery, anaconda grip tension and an unrelenting scope of the future.
LSO always wow with their playing, here was no different. Some of these wild passages were caught with raw power, musicians who seem thrilled to play and doing so with fevered totality. Conductor Antonio Pappano never fails to make his players shine, his ear is one of the best today. Hearing this opera fully for the first time in over a decade, there stood out several moments. Herod’s interchanging bouts of hot flushes and cold bursts are brilliant orchestrated by the German composer. The image of dark flapping wings are also the chilling harbinger of dread which permeates the drama. It can only end badly…
The Dance of the Seven Veils is a famous, rollocking highlight, Salome dancing rather disturbingly for Herod, her step-father. Proposing she could had whatever she wants in doing this act, her obsession with John, the Baptist compels here to have him killed. After rejecting her advances, John is killed, his head being served on a silver platter. Herod, sickened by this, compels his guards to have them killed Salome. It was never a light story!
The cast did everything and more. As the seductress, Asmik Grigorian has all the right moves and get a huge rest bite in the middle. This is an exceptionally demanding role, post Wagner and the break from singing can only ever feel warented. Some acting is there, it’s more cold and calculated than total bursts of passion. Her ringing, chants and grace in the calmer bars remain noteworthy. Herod is Wolfgang Ablinger-Sperrhacke, with moments of humour, fury and through kingly demands he crowns himself as a fine singer indeed. His annunciation with the spilling words are exemplary.
Wolfgang Ablinger-Sperrhacke as Herod and Violeta Urmana as Herodias. Photo credit: Chris Paradise
As John (Jochanaan), Asmik Grigorian had heaps of proud religious bouts and furious scorn for Salome and her mother. His one major scene defines the rest of the story, before and after is only heard in his prison cell off stage. Herodias is a glamourous Violeta Urmana who is perfect casting. The squabbles with her husband, support for John’s killing and general vampish tone were special. Highly gifted with grand voice the elements of acting was also present. Many other small roles feature including Jews, soldiers and more (there is no chorus proper), all these bit parts were cast with the right people, keen to impress.
Naturally, it all leads to the devastating ending, Gregorian soaring in this sick soprano role. The famous finalising chord Strauss concocted is loud, tangy and a complete revelation. No wonder audiences were disgusted…just imagine being there. This dark thrill ride has still got it well over a hundred years later.
What do you get when you mix the creators of South Park with the co-creator of Avenue Q and the songs of Frozen and Frozen II? It’s a riotous, crude, hilarious, downright naughty affair with some devilishly catchy songs to boot. The Book of Mormon marches, ‘two by two’ back to the Wales Millennium Centre on its latest tour stop and I’m glad to report it’s still as jaw achingly funny as before and choc-full of heart (as well as innuendos, ‘outuendos’ and everything in between!).
The story follows the endlessly optimistic and faithful, Elder Price (played by Adam Bailey) who has finished his Missionary training and is dreaming of a two-year Mission in his favourite place in the world; Orlando, Florida. However, his prayers are answered in a distinctly ‘different’ way when he is paired up with the hapless Elder Cunnigham (Sam Glen) and packed off to Uganda, where War Lords have the towns in an iron grip and there is definitely no Sea World or Disney World…
What follows is the pair’s journey to convert and baptise the Ugandans, and to ‘do something incredible’ whilst the residents just shout Hasa Diga Eebowai (which definitely does not mean, ‘no worries for the rest of your days!’). It’s not a show for the faint hearted; with the creators of South Park at the helm, you wouldn’t expect anything less, but what I love about the show is their ability to use that dark, sometimes crude sense of humour but create something that’s still got such an important message at its core.
The Mormon sections are truly delightful, from Hello to Turn It Off, the ensemble of Latter-Day Saints are excellent, led by Tom Bales who is an excellent and hilarious Elder McKinley. Vocals are en pointe and the dancing, especially the showstopping number, Turn It Off (pink sparkly waistcoats and tap shoes!) is a joy to behold. Adam Bailey is perfectly poised as ‘perfect’ Mormon, Elder Price and his fourth wall breaks to look at the audience are so well timed executed without fault. His vocals, in I Believe especially, soar. He is teamed with Sam Glen as Elder Cunningham who captures the audience’s hearts immediately. He is our anti-hero; flawed but with such good intentions and his joy at finding his ‘best friend’ in Elder Price is infectious. I especially loved, Baptise Me, his duet with Nyah Nish as Nabulingi. His constant changing of her name is brilliant, especially a very topical one towards the end of the show. Not much ‘reform’ needed to that part of the show, the audience thought it was brilliant judging by the reaction!
The Ugandans are exceptional, led by a gentle, lovely vocal performance by Nyah and hilariously deadpan Kirk Patterson as Mafala Hatimbi. The singing here is exceptional, from Hasa Diga Eebowai to Joseph Smith American Moses, and they have some of the best lines in the show, ‘one liners’ that have the audience in stitches immediately.
This is not a show for the faint hearted and, yes, it could be seen as coarse or even lewd, but what Parker, Stone and Lopez have created here has a much deeper story and emotions underneath all the surface level crudeness. The human experiences portrayed here are as deep and true to life as any more serious musical and can capture the imagination of any theatre goer. So, don your crisp white shirt and black tie, pop on your name badge and get down to the Millennium Centre to be converted. With songs so catchy it should be sinful, laughs that will leave you with jaw ache and an exceptionally talented cast and ensemble, you’ll be seeking redemption if you miss it!
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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