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Musical, Theatre

Review, Branwen: Dadeni, A Wales Millennium Centre & Frân Wen Production, by Gareth Williams

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out of 5 stars (4 / 5)

A turning point? Branwen: Dadeni certainly feels like it. This “epic new Welsh language musical” heralds a potentially exciting new era for the nation’s theatre. Why? Because it is by far the most ambitious, large-scale theatre production in the Welsh language yet. Testament to what can be achieved when the might of Wales Millennium Centre meets the creative ambition of Frân Wen. It is no understatement in describing the show as worthy of a West End run. The culmination of a long-held confidence by some that our culture is worth investing in.

Adapted from The Mabinogi, this new version exports the mythic weight of the original into a bold and contemporary style. The result is a classic piece of theatre, Shakespearean in size, but with a cutting edge that makes it feel fresh and new. The musical element is a key component to this: a combination of choral tradition, music hall operetta, Sondheim-influenced harmonies and Disney-inspired ballads. Seiriol Davies has not been afraid to draw from the wide pool of musical theatre history and infuse it with Welsh character to create a score brimming with personality. The result is a captivating story. An absorbing commentary on power, family and history that could have been heavy or dictatory but has, instead, been generously and lovingly portrayed.

The costumes fit nicely with each of the characters: from the flowing dresses of the idealist Branwen (Mared Williams) to the army-like uniform of her renegade half-sister Efnisien (Caitlin Drake). So too, the choreography captures beautifully their contrasting personalities: particularly the swish swooning of Matholwch (Rithvik Andugula) in the presence of a buttoned-up Bendigeidfran (Tomos Eames). It is in the songs though that this royal cast of kings, queens and consorts really comes to life. And when one hits the right note, the emotional affect can be overwhelming. Take the tale of the snowfall for instance. The way that Mared gently presses her vocal against the window through which her character witnesses such a scene. So poignant and hopeful, it brings a tear to the eye. Or Gillian Elisa’s vivacious solo, in which her character runs roughshod over the King to proclaim where true power lies. It is delivered with such abundant force as to raise a rapturous applause from the audience.

These are moments which are memorable not just in the context of the show. They make an indelible mark on the mind in the way that some of the best musical theatre productions do. Finding yourself driving home with lyrics still playing out in your head. Fingers tapping the melody on the steering wheel. Feelings still flowing through your body as you go to bed. This is a sure sign that Branwen: Dadeni has in some way been a success. It certainly lays down a marker for future work, which is as challenging as it is inspiring. At a time when investment in the arts is in danger of falling, may Branwen: Dadeni be the start and not the end of something.

Reviewed on the final night at Pontio Arts Centre in Bangor by Gareth Williams

Theatre

Review, Imrie, A Sherman/Fran Wen co-production, at Theatr Clwyd, by Gareth Williams

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out of 5 stars (4 / 5)

What is striking about Welsh play Imrie is its richness. Rich in language. Rich in description. Rich in lighting. Rich in characterisation. This coming-of-age story is like a rainbow bursting into life, pouring its colour out on stage with a vibrancy that reverberates throughout the whole production. Each element resembles a charged particle which, in collision, drives forward a powerful narrative about identity and belonging. It is a tour-de-force in aesthetics, as well as telling of its message.

Credit: Mark Douet

Elan Davies and Rebecca Wilson take on the roles of Josie and Laura in this two-part drama. They are half-sisters seeking to fit in in their own ways. It begins with Laura dragging Josie along to a party on the beach, she wanting to become one of the ‘in’ crowd while her sibling would rather be elsewhere. So while the former attempts to act ‘normal’, the latter runs off, after being made fun of, and finds herself alone with only the sea for company. And when from the water she hears a voice calling, a journey into an otherworldly tale takes place. This ethereal experience is captured brilliantly by the lighting that shimmers and shapeshifts across the three walls of the enclosed set. But it is also the flexibility and freedom of Davies’ physicality that produces beautifully an event which exists between the real and the imaginary.

There are parallels with Caryl Lewis’ recent novel Drift, particularly in relation to the female protagonist. Along with Disney’s Turning Red and The Little Mermaid, it is fair to say that writer Nia Morais has tapped into something bigger with Imrie. Certainly, that desire to break free from the expectations of family and (patriarchal) society burns strong here. To tie it in with the theme and symbol of water gives it a weight that bears down on the scale of contemporary classic. Its relevance is shored up by its exploration of sexual and racial identity. In particular, the conversation between the two characters at the end is thought-provoking, challenging and inspiring in its interaction with intersectionality. This is a further facet to the richness of Imrie, whose immersive soundtrack wraps the audience in its atmospheric tones which, along with the Welsh language, contributes to a mythic quality. Its basis in Cymraeg also adds a poetic lyricism to the dialogue which, though stereotypical, actually strengthens its value as a cultural expression of (self-)acceptance.

Credit: Mark Douet

Most definitely driven by Frân Wen’s passion for young people, when coupled with the Sherman’s support for innovative new Welsh writing, Imrie becomes a bold piece of theatre. Its message may be common but at its heart is an imagination that beats with such originality that it feels fresh. Celebratory of life, even as it depicts its struggles, Imrie reveals something of how identity blossoms, arising out from the depths to become all that we are, rich in colour. A play to be enjoyed whatever age you are.

Reviewed by
Gareth Williams