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Film & TV

Review, The Martin Decker Show, A Kevin Jones/Keiron Self Co-production, by Gareth Williams

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out of 5 stars (4 / 5)

The Covid lockdowns presented both challenges and opportunities for creatives. For actor Keiron Self and producer Kevin Jones, The Martin Decker Show was conceived in such a context and now reaches its climax in a 70-minute film. Shot almost entirely on iPhone and GoPro cameras, it is a witty and cleverly conceived mockumentary that parodies the self-made ‘stars’ of social media. It lightly pokes fun at the online world of gaming and fitness videos while telling a story that contains a real depth of emotion. I was pleasantly surprised by its ability to be both humorous and heartbreaking. It is by turns off-piste and tragic.

Fans of Self will recognise in his protagonist some of the hapless romanticism of another of his characters, Roger Harper, from the sitcom My Family, for which he’s best known. In Martin Decker though there is a repressed sadness behind the jollity that eeks out as the narrative progresses. This results in a story that is full of pathos, made all the more prominent by the comedy on which it is built. What is witnessed is, in essence, a mid-life crisis; a mental breakdown of sorts of a white, middle-aged man who refuses to accept that his wife no longer loves him. The film ingeniously points to this state of affairs: from the slightly rundown semi-detached dwelling to Martin’s loose-fitting appearance in shirt and tie, not to mention the many calamitous moments while filming videos for his YouTube channel. He is, in many ways, a reincarnation of Keith Barrett, actor-comedian Rob Brydon’s character in the sitcom Marion & Geoff. He certainly displays the same kind of false positivity that at once draws sympathy and pity. But there is also a growing insanity, presented in such an offbeat style that one is forced to laugh at him at times, in spite of oneself and his situation. Martin’s stubborn refusal to admit what is happening right in front of him becomes both the cause and effect of his comedic value. Add in the deadpan commentary of Lynne Seymour, who also plays Martin’s wife, and it is a recipe for pure entertainment.

There is a serious side though. For encased within scenes of Minecraft videos and tinselled-up cars are genuine moments of tragedy. They beat palpably through the silence which is held by Self with such deftness that it’s hard not to be emotionally struck by the hopelessness and humility of his personal circumstance. It comes to a head in the bathroom, where most of Martin’s videos have been shot. He hides in a cupboard from whom he thinks is his wife’s new fella when, in fact, it is her. There is something incredibly poignant about her message to him, delivered, as it is, via the very camera that he has used to form his own YouTube channel. The consequence, when he finally faces up to reality, is so simply and beautifully done that one is left to admire, with satisfaction, a film of unexpected depth and genuine charm.

The Martin Decker Show may start with its protagonist faking applause for his own show. But by the end, this real audience member was clapping authentically, so impressed was I by this lockdown creation.

For more info, including cinema screening dates, click here.

Reviewed by
Gareth Williams
Theatre

Review: Shed Man at Sherman Theatre by Gareth Ford-Elliott

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out of 5 stars (3 / 5)

Shed Man by Kevin Jones is a view into the head of a man who lives the most mundane of lives. He has a job, a wife, two kids and is building himself a shed. Sometimes, we all just need to build a shed and hide.

The script truly is a beautiful thing. The attention to detail is exceptional and the small nuances of the script are what makes it so powerful. There are funny moments, but a darker undertone – which is really becoming a defining feature of Kevin Jones’ writing and is extremely effective.

The script is the outstanding aspect of this production and it is an interesting view into the mind of a man who, on the outside, is extremely mundane.

The design team for this production is solid. Josh Bowles’ sound design is becoming a regular these last couple of years on the Cardiff scene and I’m all for it. Here, the use of music for transition works well and the rest of the sound portrays scene and emotion to good effect. The sound is nothing incredible, but it is not supposed to be.

Cory Shipp’s set is exactly what you’d expect and sets up this mundane world. A garden with a white fence, a shed and a few bits that get played with. It’s straightforward and again adds to that sense of mundane life. The lighting from Louise Swindell changes subtly, and again, is simple, yet effective. It compliments the nature of the script well, but again, is nothing groundbreaking.

Perhaps more could have been done on the design front, but then the whole production, lead by Siobhán Lynn Brennan, is directed in a very plain and realistic way. There is nothing overtly wrong with this, however it could do with something different. This is a script that could be interpreted in many ways, and because of that there is no clear answer to how this could change for the better.

As far as the acting goes, again, it does the job, there is nothing wrong with it and makes for an enjoyable performance. However, there is a clear choice from Brennan to keep this realistic, when the characters aren’t exactly realistic.

Brian (Benedict Hurley) is a man who, besides the first and last scene, is going through an anxious episode. Mother Pat (Siw Hughes) and boss Mr. Tatum (Joe Burke) are caricatures of real people existing in Brian’s head. Wife Emma (Chrissie Neale), whilst never appearing in Brian’s head on stage, is portrayed simply as a “nice wife” with no real depth. This all works in the hour of script. However, in its transition to stage something has been lost.

Pat and Mr. Tatum are fairly plain characters, showing no depth, little character motivation and little logic. But that is the point, because that is how anxiety works. Pat might be an overly clingy mother after the death of her husband, and Mr. Tatum may be an annoying boss who sends his employees on pointless tasks in real life. But in this hour of theatre, they are caricatures – and that is how it should be.

Benedict Hurley is the only actor really challenged by character depth and he handles it fairly well. However, there are moments that could have been driven home more. And more subtleties from the script that are there in words, but not action.

Generally, the character interaction, movement on stage and minor physical details could be worked on. There are moments that felt awkward. There seems a lack of physical characterisation which could really enhance this piece. However, if the director wants us to think everything happening on stage is real, until we find out it’s not, then Brennan succeeds.

It’s hard to say exactly what Shed Man ‘needs’ to step up a level. This script truly could be interpreted in many ways. Brennan is an exceptional director and the actors are great too. But something just isn’t clicking here.

The running time of sixty-minutes is fine. But perhaps a slightly shorter time that gets the point across and allows more space for the characterisation of Brian, the protagonist, and gives less time for the lack of characterisation of other characters to become exposed, would be more effective.

That said, this is still an enjoyable piece of theatre and the script alone makes it worth seeing. It is the type of production that some will like and some won’t. I fall somewhere in the middle. The mundanity is beautiful, and something that I believe is more dramatic than typically dramatic situations, if it is handled in the right way.

On another note, it is really heartening to see a company like Clock Tower performing in the Sherman. A beautiful company committed to new writing, who have produced some truly excellent work, deserve all the best. A fitting first company to be part of the Sherman’s new ‘Get it while it’s Hot’ programme.

Shed Man is a thoroughly enjoyable watch, brilliant script, not without its issues as a production.

Shed Man is an important play for 21st century Britain. The issue of mundanity is the biggest unspoken struggle. It is a “first world problem”, but any issue in any human’s head deserves to be spoken about. And nobody should have to build a shed to hide from the world.

Shed Man by Kevin Jones
Performed at the Sherman Theatre
Tickets: 13th – 17th November 2018
Presented by Clock Tower Theatre Company
Directed by Siobhán Lynn Brennan
Produced by Steven Bennett
Designer: Cory Shipp
Sound Designer: Joshua Bowles
Lighting Designer: Louise Swindell
Assistant Director: Umalkyhar Mohamed
Assistant Producer: Lauren Lloyd

Music, Musical, Photography, Theatre

Review: Cardiff Boy at The Other Room by Gareth Ford-Elliott

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out of 5 stars (5 / 5)

Kevin Jones’ monologue Cardiff Boy is a nostalgic jump into the 90’s with a story as relevant today as it was in the 90’s. A story of male friendship that explores toxic masculinity with a killer 90’s soundtrack.

Narrated by “the quiet one” of the group, the story follows a group of young Cardiff lads as we join them on a night out. The use of set, sound and lighting design really add to Jones’ descriptive and emotive piece, which is guided well by director Matthew Holmquist and actor Jack Hammett.

Jones’ writing in this piece has its strength in the language. Whilst the plot is fairly basic, it is the expression of the characters that really stands out. Jones uses a clever mix of comedy and archetypal characters to juxtapose the hard hitting moments of the play. This works very well and makes the play relatable, enjoyable whilst also saying something unique.

There’s more you want to know about the characters and paths that are left unexplored. But not in an unsatisfying way. Details such as the protagonist’s relationship with his father is touched upon, but quickly brushed over by the protagonist. A detail that could be explored, but the lack of clarity of which is harrowingly too real for many young men.

When the audience enter the space of The Other Room, we leave behind Porters, the pub within which the theatre resides. However, with Cardiff Boy, The Other Room literally feels like the other room of the pub, such is the strength of the set design.

photo credit Kirsten McTernan

 

 

 

 

Sitting down you’re greeted by benches and chairs scattered throughout the room, with tables on which to rest your drinks. And as Hammett wanders between you and the other audience members, it is hard not to feel a strong sense of place.

This is heightened with the hanging photographs of 90’s Cardiff, which act as a sort of scrapbook of the protagonist’s photography collection. Photography and perception is used at various times by the protagonist to set the scene, with the city and locations generally described in great detail. Looking around at these fragments of Cardiff hanging from the ceiling, creates a very evocative feeling that makes it easy to get drawn in.

The directing of Matthew Holmquist is another strength of this piece. Not an easy piece to take on, such is the temperamental nature of the script. Without a brave director, that temperament could easily become a major flaw. But, the tone of the piece is handled brilliantly by Holmquist who allows the moments of emotion time to breath, without letting them take over.

Jack Hammett does a good job of portraying the protagonist and his mates as he bops around the room. In particular moments of vulnerability, which defines his “quiet” character, stand out. Ultimately a play about difference in men, Hammett does a great job in portraying this.

The use of sound is crucial to this play, and it doesn’t fail to impress. The soundtrack is obviously brilliant for anyone who enjoys 90’s music. Often used to comedic effect, the music, like the photographs, has a deeper meaning to the protagonist of the piece. Sound is also key in setting the scene and does so well.

The only issue for sound designer Joshua Bowles to work on would be that the level of the sound often drowns out Hammett’s voice. On occasion this works, for example in the club, where you can never hear anyone anyway, however, probably an occurrence too regular were that the desired effect.

photo credit Kirsten McTernan

 

 

 

The use of lighting from Ryan Stafford is understated. Often going unnoticed until you try to see it, the lighting adds to the overall piece well. A tough play for lighting, as the stage is the entire room, Stafford manages to keep it effective without distracting. Even when there are flashing lights, you barely notice it because the music, direction and acting are all working together with the lighting to set the scene.

Perhaps this is the biggest compliment to Cardiff Boy and Red Oak Theatre as a wider company. A company that views the roles of the designers as importantly as the director, writer or actor. Something that is weirdly rare when you consider how well it has worked in Cardiff Boy and how vital these professions are to the theatre industry.

It’s good also to see that with this in mind, Red Oak are committed and passionate about developing young artists with a paid assistant director (Nerida Bradley) and assistant designer (Lauren Dix). A company no doubt restricted by a budget won’t always do this, so it’s nice to see Red Oak committing to young artists in this way.

Along with this, it is heartening for a piece that started at a scratch night, to grow into such a strong piece of theatre. Again showing Red Oak’s commitment to new work and new artists.

Overall, Cardiff Boy is a wonderful production. It’s hard to say anything stands out in this production as everything works so well together to achieve its aim. However, April Dalton’s design, assisted by Lauren Dix, is phenomenal and deserves recognition.

The play’s greatest strength is the team behind it because with another team, and another company, Jones’ emotive script could be easily forgotten.

Cardiff Boy by Kevin Jones
Presented by Red Oak Theatre
Running From: 30 October – 11 November 2018
Performed at The Other Room, Cardiff
Director: Matthew Holmquist
Cast: Jack Hammett
Designer: April Dalton
Lighting Designer: Ryan Stafford
Stage Manager: Joshua Bowles
Sound Designer: Joshua Bowles
Producer: Ceriann Williams
Assistant Director: Nerida Bradley
Assistant Designer: Lauren Dix

Theatre

‘Street’ and ‘Izzy’s Manifestos’ from Spilt Milk by Gareth Ford-Elliott

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Spilt Milk’s double bill of Street by Susan Monkton and Izzy’s Manifestos by Kevin Jones (23/10 – 26/10 2018) is their second production of the year, having staged the impressive Five Green Bottles by Joe Wiltshire-Smith at the Cardiff Fringe in May. Along with various scratch nights, the company are a busy one, offering various opportunities for Cardiff’s creative scene.

And this double bill showcases exactly that. A work-in-progress piece from emerging writer and actor Susan Monkton, as well as a more polished piece from Kevin Jones.

The evening starts as any Spilt Milk night would, with a warm welcome at the door and an invitation to the bar, where lovely Kate and Leo from AJ’s Coffee House will serve you. The setting of AJ’s is intimate, cosy and always makes for a nice evening of theatre, this being no different.

Street by Susan Monkton  out of 5 stars (3 / 5)

Street is only Susan Monkton’s second piece of writing that she has shared with the public, and with it being a work-in-progress, that has been taken into account for the review.

The play follows a young woman, Laura (portrayed by Ella Maxwell), as she walks home from a one night stand, only to be met with a bomb explosion on City Road in Cardiff. She tends to the wounds of Sammy, a young boy, before fleeing the scene. This causes guilt in her mind to circle, until a knock at the door from a police officer assures her that the boy is okay, and that she’s done nothing wrong. The opposite in fact, she is “my hero” in Sammy’s words.

Overall, it feels as though the writer has found a topic, but not really explored in depth the character or the situation. The point of the play, why the story needed to be told by this character and the writer’s aims aren’t really clear.

The police officer scene is fairly awkward, in part because the officer speaks over the sound system as a voice-over. But it also feels unrealistic for the officer to show up, bring her pair of shoes and comfort her.

Aspects like Sammy being revealed as a refugee is a detail that feels thrown in, unnecessary and really takes characterisation away from him. Almost to ramp up the tragedy, but ends up falling into the trope of white heroinism.

The setting of City Road is a multicultural area of Cardiff and in the national discussion of refugees and terrorism, it is impossible to get away from the topic of Islam. The connotations of these aspects of the play really need looking into as combined with the white heroism, it creates a potentially problematic play.

A play that focuses on the victims and tragedy of the situation could have more responsibility in considering the connotations of the setting, characterisation and main themes.

The opening monologue about Laura’s night out is a bit odd in contrast to the rest of the piece. However, it does portray Laura as someone ultimately not ready to be a hero. That continues to be a big theme throughout the play, but a theme that makes the protagonist fairly passive. Things happen to her rather than because of her actions.

There are some really strong moments of humour early in the play, which is definitely a strong area of Monkton’s writing having seen her previous work. There is also strong characterisation for Laura and some really emotional writing. The script shows real promise but it requires work and needs to be more careful in certain areas.

Ella Maxwell does an excellent job in portraying Laura, really throwing herself into the script, bringing out the humour when appropriate, but also handling the more emotional parts of the play really well also.

Street is directed with real care from Becca Lidstone with close attention to detail. Paced well with key points in the script really standing out. No doubt that some of Maxwell’s excellent work is down to this direction, not to take any credit away.

There were moments where sound effects used felt awkward which Lidstone and sound designer Nick Laws could work on. They seemed to be chucked in and rather than adding to the scene, distracted somewhat.

Overall it is worth going to see to give feedback on the script and for Ella Maxwell’s great performance. But certainly a play that needs work.

Street by Susan Monkton
Cast: Ella Maxwell as Laura
Directed by: Becca Lidstone
Produced by: Tobias Weatherburn
Sound Design and Stage Manager: Nick Laws
Venue: AJ’s Coffee House
From Spilt Milk Theatre

Izzy’s Manifestos by Kevin Jones  out of 5 stars (4 / 5)

Izzy’s Manifestos by Kevin Jones was initially performed at the Edinburgh Fringe Festival in 2017. However, has been developed and brought back as a brand-new production by Spilt Milk.

The play follows a young girl called Izzy, who, after her father’s death when she is fourteen, creates manifestos by which she lives her life. It is an unpredictable, hilarious, yet potentially heart-breaking piece of theatre.

I say potentially, as the script certainly doesn’t live up to it’s high potential. That’s not to say it’s not of a high quality. It is really funny and a strong piece of theatre. However, it ends abruptly and leaves you wanting more.

Before the play starts, Angharad Berrow goes around the room, in character, telling people that the play was about to start. This along with Berrow’s energy sets the tone for the play which moves very quickly, jumping from stage to stage of Izzy’s life.

Izzy is witty, excited, evil and brilliantly portrayed by Angharad Berrow. Not afraid to break the fourth wall, which works well as there are planned and unplanned examples of this, all of which Berrow handles very well.

The piece is well directed by Luke Hereford and despite lack of emotion in the character, Hereford finds other ways of displaying what is under the surface of the character. In particular, manipulating tone and pace to good effect. This really shows what a promising director he really is.

The main issue here comes in that there seems something missing at the end. Some emotion. Izzy spends the whole play (and previous years of her life) ignoring her father’s death and not grieving. When she finally lets herself think of her father, which she admits to the audience, there doesn’t seem to be a consequence of this. The story seems focused on Izzy reaching that point – but not on what that might mean for her moving forward. The ending is generally rushed and seems unfinished.

It’s hard to say exactly what it needs, but it needs some more care and to show more emotion in the conclusion. Just as the play feels like it’s getting somewhere, it finishes.

It was the only major issue with the play, but it was the difference between four and five stars. Other than that, it is a really enjoyable piece of theatre on all fronts and definitely worth seeing.

Izzy’s Manifestos by Kevin Jones
Cast: Angharad Berrow as Izzy
Directed by Luke Hereford
Produced by: Tobias Weatherburn
Sound Design and Stage Manager: Nick Laws
Venue: AJ’s Coffee House
From Spilt Milk Theatre

Review by Gareth Ford-Elliott