Tag Archives: hannah noone


Image Mark Douet

Writer: Matt Hartley

Director: Hannah Noone

Designer April Dalton

Composer and Sound Designer Sam Jones

 out of 5 stars (4 / 5)

Reviewing a new play – and, furthermore, a one-woman play – is guaranteed to send a frisson of excitement down the spine of even the most seasoned of reviewers. The Wife of Cyncoed does that in spades, an added bonus being that the monologue is played out by none other than Vivien Parry – and what a tour de force it is for this Welsh actress!

On stage non-stop in a monologue that lasts for one and a half hours with no interval, Parry – who performed in a preview on her 60th birthday – gives it all she has got from start to finish. Taking place in the upmarket Cardiff suburb of Cyncoed and the atmospheric Lakeside area, this – the first production of the season for the Sherman – has a make-or-break quality about it, in reference to both the plotline and the setting.

Fear you not – this monologue from the pen of writer Matt Hartley could be set pretty well anywhere. The story – that of Jayne, a newly divorced woman whose life takes an unexpected turn, offering her an opportunity that she may or may not be brave enough to take – manages to be both entertaining and poignant, a tale of self-discovery, and second chances, of a road that may or may not be taken.

A monologue is a genre that depends not only on the writing but on the delivery (think Alan Bennett’s Talking Heads and the iconic Thora Hird). In Hartley’s monologue, the multi-talented Parry, seen recently in Cabaret in London’s West End and well-known to Welsh audiences for her sterling work with Theatr Clwyd, steps up to the challenge head on. Parry taking command of the stage from her first entry. Not only does she become Jayne but in using different voices with maximum effect changes character to reflect other people in her story, in particular her two grown up children, with whom- to say the least of it – she doesn’t always see eye to eye.

Parry gives a brilliant and empathetic performance, but could do with slowing down her delivery a tad at times in the first hour. Having said that: full marks and more for amazing movement and dance, giving full justice to the underlying message, described by Hartley as “A a howl of rage against how older women are perceived and overlooked.,” and getting under the skin of the character warts and all.  Staging is at a minimum (not even a chair) but Katy Morison’s clever lighting and Sam Jones atmospheric sound track provide this with effect while remaining unobtrusive when necessary.

Could this be one for Edinburgh Fringe? Yes. For Hartley’s monologue – the story of a woman of a certain age with the message that life is for living – could be set anywhere.

Runs until 23rd March 2024 at Sherman Theatre, Cardiff


 out of 5 stars (3 / 5)

Please note this review contains references to sexual violence and discusses the production’s plot in detail.

Eternity and Time
by Jacob Hodgkinson follows a 14-year-old girl, Maya, who is sent
as a drug-runner from Liverpool to Bangor by Dabs. As the play develops, it
becomes increasingly evident that she wasn’t meant for a life in the city, but
instead something freer. Between Eternity
and Time
is about environment, coming of age and finding your place in the

The writing by Jacob Hodgkinson is generally OK. The plot is straight-forward and the dialogue is realistic. There’s rarely a boring moment as the play moves at a good pace, mostly with purpose and with a good amount of humour.

However, characters are very stereotypical, underdeveloped
and in one case, Kitty, completely unnecessary. Other characters have no
redeeming qualities, especially Dabs, the main drug-dealer, who just seems to
be bad with no justification, even to himself. Maya similarly, has no negative
quality. She doesn’t seem vulnerable, as a fourteen-year-old in the drug-scene
would be, despite being taken advantage of, and never does anything wrong. This
makes her feel passive and hard to connect to through no-fault of Kate Jones
who performs well.

There are also a few moments of expositional speech that
really drag, ruining the rhythm of the piece. In particular when Maya explains
her half-brother, Tom’s, personal history and interest in Warhammer to Mush.
This goes on far too long and is too expositional to be interesting. It’s also irrelevant
to the rest of the play. It could be cut and we wouldn’t miss a thing. We
understand exactly who Tom was through William Kirk’s great performance.

A minor issue is that it’s not realistic for a drug-runner to
be forced to put drugs up their bottom to transport on a train from Liverpool
to Bangor. That’s something only really used to smuggle across international borders
through airports. Not really from Liverpool to Bangor. Not impossible that it’d
happen, but it doesn’t help with the suspension of disbelief and seems to exist
solely to make Dabs look evil when he forces Maya to do this.

The play is gritty realism that leans into surrealism at
times as actors don stag masks and speak about Maya’s backstory through metaphor
that compares Maya’s animalistic nature to that of a young fawn. For most of
the play this feels odd, until the end where it finally pays off. The
juxtaposition of the surreal, animalistic and rural nature to the societal,
urban, reality fits what the play attempts to talk about. But perhaps would be
stronger were it explored more in the direction before the end of the play.

Otherwise, the direction from Hannah Noone is strong. From
script to stage, the play improves and Noone certainly contributes to the play’s
strengths whilst balancing out its weaknesses. The scenes are short-and-snappy
for the most part, but are directed well, with close attention paid to pace and
tone, so this isn’t an issue.

Some of the music choices are bordering on offensive. It’s
clear that some working-class, Liverpudlian, drug-dealers listen to rap music.
But we don’t need that shoved in our faces, especially as it’s not personal to
the characters. It feels a little like Noone and sound designer, Charlie Foran,
have thought, “what music is ‘street’ and reflects drug-dealing?” And then
instantly picked the most instantly recognisably ‘black’ music genre, hip-hop,
which is bordering on racist stereotyping. It just doesn’t sit well. It also
does nothing to increase that feeling of ‘Liverpool’, so some local music would
be a better fit.

The music generally feels like a missed opportunity to draw a
real distinction between Liverpool and Bangor and between the urban and the
rural. This is explored at times, but really not enough, which is a shame given
the overriding theme of the play.

The set from Harrison Lee is minimal which works well,
allowing the writing and acting to be the main focus which is the point of RWCMD’s
‘NEW’ season. This, however, means that the lighting is very important. Luckily,
Leonora Nicholson’s lighting design is exceptional and compliments the production
well, enhancing almost every scene.

Despite the stereotypical and often weak characters, all performances are brilliant – for what they were given.

Ed Piercy makes Blowback feel like a victim of circumstance,
which makes him feel like a young-man from Liverpool, caught up in the drug-scene
with no way out. His performance is realistic and makes his character very

Grace Quigley gives a strong performance as Nicole, acting
with conviction. Saran Morgan as Kitty was great, even if her character was
basically unnecessary. I felt sorry for her, playing a character who doesn’t
really have any substance or meaning – but she does a good job regardless. Alex
Leak as Dabs is also strong, although his accent seemed to switch at times. William
Kirk’s nervous demeaner is really powerful in a play full of confident
individuals. Ruby Hartley as Crystal is also great, as is Kate Jones as Maya –
both however felt incomplete as characters and that meant the performances are
somewhat over-done.

Aron Cynan’s subtlety and creepy vibe as Mush is the standout.
He’ll have your skin crawling even before he does anything wrong. Something is
just ‘off’ with him from the start and it’s really powerful when he eventually

Unrelated to the quality of the production, but no less important, is the lack of trigger warnings provided by the Royal Welsh College of Music and Drama. In the programme and website there are no trigger warnings for sexual violence or flashing lights in this production. So, you can imagine my shock when Mush and Maya are involved in a scene of strong sexual content, this urgently needs addressing. The theatre has a responsibility to challenge its audience’s minds, but care for their bodies. This production succeeds at challenging its audience, but due to the lack of trigger warnings, puts its audience at risk.

Eternity and Time
is an intriguing exploration of environment and
finding one’s place in the world that achieves its aims, but not without its

Between Eternity and Time performed at The Richard Burton Theatre, Royal Welsh College of Music and Drama
19 – 21 March 2019 in Cardiff
Transferring to The Gate Theatre, London, 2 – 5 April
Written by Jacob Hodgkinson
Directed by Hannah Noone
In Collaboration with Sherman Theatre
As part of RWCMD’s ‘NEW’ Season
Kate Jones as Maya
William Kirk as Tom
Aron Cynan as Mush
Alex Leak as Dabs
Grace Quigley as Nicole
Ruby Hartley as Crystal
Ed Piercy as Blowback
Saran Morgan as Kitty
Production Team:
Set & Costume Design: Harrison Lee
Lighting Designer: Leonora Nicholson
Sound Designer: Charlie Foran
Assistant Production Manager: Alexandra Drescher-Elphick
Stage Manager: Gemma Smith
Deputy Stage Manager: Melanie Allen
Assistant Stage Manager: Grace Bilsborough
Design Assistants: Cleo Andriola and Bence Baksa
Technicians: Ella Cunnison, Kitty Dunning, Jamie Holden and Paul Kaiba
Venue Technician: Kieran Gough
Supervisors: Kristy Bowers, Rob Clarke and Laura Martin