(5 / 5)
This weekend Cardiff has had the luck of the Irish as Michael Flatley’s worldwide phenomenon ‘Lord of the Dance: Dangerous Games’ has played in St David’s Hall. The tour is one of the biggest the UK has ever had and has currently been seen by 60 million people in 60 different countries on every continent. All of the stops are pulled out in this Irish Dancing Extravaganza with dancing that is simply mesmerising.
I have been looking forward to watching this show for a long time and being a tap dancer myself can appreciate the hard work and effort that goes into this form of dancing. I knew from the opening sequence alone we would be in for a good night. As the first half of the show begins the audience are greeted with a projected Michael Flatley and a giant clock alluding to the opening of the show.
The cast are very well cast and all of the characters within the show work well as a dance unit. The perfectly balanced ensemble of male and female dancers help to give depth to the story and in the dance sequences when they are all in a line and coordinated it really is something to admire. Their collective talent is unbelievable and there are moments where your jaw is in your lap watching their feet move almost as too fast to comprehend. The main lead Lord of the Dance was played by James Keegan and the Dark Lord was played by Zoltan Papp.
The show seemed to have a variety show feel to it with all of the acts being very diverse. They all managed to hold attention of the audience due to their frequent costume changes and the cleaver projections that portrayed Ireland as an Idyllic place filled with Unicorns and rainbows. The plot follows a little Spirit with a magic flute who battles against evil to save Ireland from being taken over by evil cyborgs. Along the way the Spirit meets different dancers as well as a Black Swan like love triangle that threatens to turn the head of Ireland’s saviour, the Lord of the Dance himself. The show culminates with a big fight for the title of Lord of the Dance.
You can’t help but have a big smile on your face when the full ensemble cast fill the width of the stage at St David’s Hall and with their legs kicking and tapping in perfect sync. The show’s best section and what will always be their most iconic is the ‘Lord of the Dance’, and the skill of the cast is amazing in which they gave four Encores at the end of the show of that very dance which was met with a standing ovation from the whole audience at St David’s Hall.
If you’re a fan of this type of dancing and the Irish music and culture this show is without a doubt the show for you to attend next. It provides a 5-star evening of entertainment with lots of ups and downs within the story. In my opinion this show is something everyone should experience once in their lifetime as it will enthral you.
For more information about the tour of the Lord of the Dance please visit the official website to see where the tour will be heading next. http://www.lordofthedance.com/
Origami Reinkarnasjon performed by Simon Gore and Jack Rees
Traditional Sephardic lullabies, liberated CCTV Footage and choreography merging Jane Eyre with the tunes of PJ Harvey are among the diverse acts at Clear-Cut 6 programme of experimental performance arts.
The audience clamours for position in the gallery space at M.A.D.E; spectators gather at the back and the edges of the room, whilst others nestle amongst the many cushions and pallet boxes laid out for our comfort. The atmosphere is one of anticipation, but also of fun and togetherness. After reading through the programme at the beginning of the evening, I find myself curious about each of the seven experimental acts in turn. Clear-Cut is an event unlike anything I have attended before, and the diversity of the audience and acts alike is immediately apparent. The evening is a showcase of video works, dance, spoken word, performance, visual arts, new music and more. To experience this diversity of performance in a single event is impressive. It’s something of a one-stop culture stop.
“Where genres collaborate and collide”, Clear-Cut 6.
Will Salter, host of the evening and Dada performer
Will Salter is our animated host; himself performing Dada poetry at intervals throughout the evening to great effect. His verbal explosions punctuate the spaces between acts, and mischievously disrupt the audience should they grow too comfortable. Dada retains a long history with experimental performance related to (or in denial of) the fine arts, which makes the presence of the genre particularly appropriate on this occasion.
Our agenda for the evening is jam-packed, prompting fears that we might not achieve all seven acts. In actuality, the evening is well-structured whilst maintaining a casual and friendly atmosphere.
Marega Palser merges literature, illustration and popular music in, ‘Jane Eyre, The DarkSide...’ Initially inspired by Paula Rego’s illustrations of the novel by Charlotte Bronte, Palser’s performance really is a highlight of the evening. The artist said of the inspiration for the work, “each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting…” Palser describes the piece as, “a thought in progress…” and the work curiously encompasses elements of the unknown. The piece reveals something of an internal conflict, which ultimately dictates movement, yet there is undeniably confidence in the madness.
‘Jane Eyre, The DarkSide…’ performed by Marega Palser
‘IdentiTTy’ by Arnaldo James and collaborators is a film which asks more questions than are answered. “Does ethnicity or origin come through when skin tone is homogenised? Is morphology reflected by environment? Can identity be conveyed through dance and abstract non-verbal storytelling?“ The potentially fluid and reactionary nature of cultural identity is explored in this choreographed video work. Referencing Japanese Butoh and Creole traditions alongside more indigenous Trinidadian movement the piece claims to examine, “the similarities that occur in different cultures through movement and music”. The piece is visually stunning.
Nicholas Morgan & Margot Przymierska perform as the collective, ‘Parallel Lines’. In, ‘That’s the family you have’ Nicholas and Margot divulge separate yet intertwining stories, “improvising around box-set narratives and the immediate, subjective experiences of our own lives, collapsing characters, time & space, fiction & reality”. Their simultaneous telling of the circumstances surrounding the funeral of a relative, alongside an audio description of moments from the popular series ‘Game of Thrones’ captivated the Clear-Cut 6 audience and was at once sensitive and hilarious.
‘That’s the family you have’ performed by ‘Parallel Lines’, Nicholas Morgan & Margot Przymierska
Meanwhile, above the performance space, the gallery plays host to a film and sculpture installation by contemporary artist, Merran Singh Dubb. ‘Temple of Consciousness’ explores the relationship between the declining condition of the natural environment and the similarly marred spiritual condition of humankind. “It is evident that we are destroying the planet but ultimately, we are destroying ourselves”. The installation thoughtfully presents imagery representing spirituality alongside the elemental extremes of natural disaster and climate change.
To close the event, ‘Trio Ladino‘, consisting of Angie Kirby, Bethan Frieze and Eloise Gynn are a trio of musicians and vocalists performing adaptations of Arabic and Sephardic traditional lullabies. The trio describe their sound as, “ancient melodies fused with more contemporary musical perspectives, anchored by lullaby-like themes and romantic narratives”. The performance is a calming and captivating conclusion to the Clear-Cut programme.
On reflection, improvisation and experimentation were certainly the order of the evening with every act proving both valuable and unique. The atmosphere was at the same time informal, friendly, supportive and progressive. Clear-cut is unlike anything I have seen and I will be attending from here on!
‘Trio Ladino’ performers Angie Kirby, Bethan Frieze and Eloise Gynn
For a taste of Clear-Cut, visit: https://www.youtube.com/watch?v=JeQJ4MaIVtU
Image credits to Glyn Owens and Sarah Vaughan-Jones.
Special thanks to M.A.D.E Gallery, Sarah Vaughan-Jones and all contributors and performers for the organisation of this event.
“Murder, greed, corruption, violence, exploitation, adultery and treachery…all those things we hold near and dear to our hearts “and so Cardiff welcomes the touring production of Chicago. In a first for the Wales Millennium Centre the smash hit musical Chicago has arrived to entertain packed audiences. Chicago is based on the real life events in the roaring 1920s. A nightclub singing sensation Velma murders her husband, and Chicago’s smoothest lawyer, Billy Flynn, sets out to act has her defence. But when Roxie ends up in prison on similar charges, Billy takes on her case too, turning her too into a media sensation. Neither of the two women will be surpassed in their fight against each other for fame and celebrity status.
As the audience sat down before the performance an announcement was made informing us that John Partridge who plays lawyer Billy Flynn would not be performing due to ‘unforeseen circumstances’ and therefore the role would be played instead by his understudy Kerry Spark. Despite the obvious disappointment by some audience members we needn’t have worried as Kerry Spark gave an excellent performance.
This revival tour of Chicago showed a whole different side to the show by stripping the production back to its bare bones, with a full band positioned on a podium on stage, minimal costumes on the performers and some chairs. As an audience member, you seem to have the feeling that the music is the main star of the show and the thing you should be concentrating on most of all.
In the performance, Sophie Carmen-Jones played Velma Kelly, the tough performer awaiting trial for the murder of her husband and sister. Sophie Carmen-Jones delivers a brilliant Velma who is very confident and self-assured but still beneath her many layers is highly vulnerable.
Hayley Tamaddon is utterly sublime as Roxie Hart. Hayley Tamaddon brings out a different version of Roxie with slightly more comedy and shyness in Roxie than audiences will not have seen before. There are many moments during the performance where Roxie really comes into her own and shines like a star.
In my opinion, the two leading ladies are perfectly matched and when they come together and perform the ‘Hot Honey Rag’ to the end of the show they are wonderfully in synch with each other bringing a smile to every audience member.
The Matron of the Cook County Jail, Mama Morton was played by Gina Murray. The role is usually played by former X Factor winner Sam Bailey however she took a break from the tour. Gina Murray was brilliant as Mama Morton and has a good mix of being stern and kind to the inmates. Her performance in the song ‘When You’re Good To Mama’ was amazing and received a loud applause from the audience.
One of the real stand out characters during the musical was A D Richardson as Mary Sunshine. Each line of the song ‘A little bit of good’ is presented with a strong sense of carefulness and delicacy. It’s an extremely gruelling role that can be extremely difficult to sing night after night, but you get one of the best vocal performances I have seen. Without giving a major plot spoiler away it is unbelievable how good the characters voice is considering the circumstances.
Roxie’s all loving and walked upon husband Amos Hart is played by Neil Ditt. Extremely well performed, the character is worked, used and mistreated by Roxie and Billy but it is a truly wonderful performance by Neil Ditt and this is especially shown in the song Mr Cellophane which demonstrates to the audience how this extremely bland man is constantly striving to be noticed by others.
‘The 6 marry murderesses of the cook county in jail in their rendition of the cell block tango’ are outstanding with the cast consisting of Sophie Carmen-Jones, Lindsey Tierney, Ellie Mitchell, Nicola Coates, Frances Dee and Chelsea Labadini. This performance is very powerful and each character portrayed is very different with a stand out personality that draws in the audience.
It would be very wrong to not mention the utterly divine band for the performance led by the fantastic Ben Atkinson. It truly is the icing on the cake for this touring production. All through the show the energy levels of the band were extremely high and the music blasted out around the Wales Millennium Centre. The two real highlight moments of the band was during the Entr’acte and Playout because it was then they came into their own. Ben Atkinson was conducting upside down leaning over a wall and climbing over the staging while leading his band. He finally ended up draped over the piano upside down with his band dancing around the stage. An utterly amazing performance.
You don’t want to be ‘Mister Cellophane’ so make yourself seen and go and watch Chicago: The Musical at the Wales Millennium Centre. The musical is showing between 25th Jul – 30th Jul 2016. Tickets are selling fast so please make sure you get them via this link-
Following a simply wonderful week packed full with all types of music, the Welsh Proms 2016 drew to a stunning close on Saturday evening. The Last Night of the Welsh Proms, at St David’s Hall, Cardiff, is a celebration of what it means to be Welsh and how important music is for Welsh people. The celebrations began before the audience entered the auditorium, with a band playing outside the hall enticing passer-by’s into the concert hall.
As the show began the audience welcomed The Royal Philharmonic Orchestra from London and the resident Last Night Of The Welsh Proms conductor Owain Arwel Hughes CBE. With a marvellous programme of songs set for the evening the audience knew there would be a great evening in store.
As well as the upbeat recognisable pieces played by the Royal Philharmonic Orchestra the Last Night is also about some serious music, and this year’ concert featured three world premiere performances of brand new orchestral pieces.
The first of these was ‘Cambrian Serenade’, by Arwel Hughes, the father of our conductor for the evening. The piece featured heavily on Classical FM where they held a competition for the listeners to name the song and the winner would get to see the music performed on The Last Night Of The Welsh Proms. The second of the world premiere pieces was ‘Aberfan’, by Christopher Wood, the emotional piece which was very moving was written to commemorate the 50th Anniversary of the Aberfan disaster. The Aberfan disaster was a catastrophic landslide of a colliery coal tip in the Welsh village of Aberfan, near Merthyr Tydfil, on 21 October 1966, which engulfed a Primary school and killed 116 children and 28 adults.
The third piece making its World Premiere was ‘Mr Dahl’, by Bernard kane Jnr, which was a beautiful piece written to commemorate 100 years from the birth of the great Welsh writer Roald Dahl.
Some of the first half highlights included Coates ‘Dambusters March’, Tchaikovsky’s ‘Swan Lake’ and Mendelssohn’s well known and loved ‘Wedding March’. The real showstopper that ended the first half was the soundtrack to Star Wars which took your breath away. Nothing can really prepare you for when you hear the opening few bars of the theme played by the brass section. It is almost like you are expecting Darth Vader or Yoda to appear on stage and greet the audience.
As with the tradition of the Last Night Of The Welsh Proms, it was really after the interval that the fun really began with an influx of flag and banners being brought into the auditorium in preparation for waving along with the music.
The second half opened with a personal favourite of mine Elgar’s Pomp and Circumstance No.1 and it wasn’t long until conductor Owain Arwel Hughes soon had everyone on their feet and singing ‘Land Of Hope And Glory’ enthusiastically to the music. Strauss Radetsky March proved popular with the prom goers as we all clapped along when told by the conductor.
The final songs of the evening came in the form of ‘Fantasy On Welsh Songs’ arranged by Gareth Wood. This part of the concert involved a great deal of singing with the orchestra as some of Wales’ most famous songs were played. With songs such as Cwm Rhondda, Men Of Harlech, Ar Hyd Y Nos, We’ll Keep A Welcome, Myfanwy, and I Bob Un Sydd Ffyddlon there was plenty of choice. One song played Bugeilio’r Gwenith Gwyn had a great deal of meaning for my Mum who I attended the concert with as it was the song she performed for the Queen when she visited Wales in 1977 for her Silver Jubilee celebrations.
The national anthem Mae Hen Wlad Fy Nhadau provided a fitting encore to end a wonderful evening of music. Conductor Owain Arwel Hughes promised the proms would return bigger and better next year, which is definitely something to look forward to. I urge everyone if you have the chance to attend the Last Night Of The Welsh Proms be sure to go because you are sure to have a magical evening of music and culture.
(4 / 5)
Cardiff welcomed one of France’s most famous singers in the form of ‘Piaf! The Show’ as part of the Festival of Voice event in association with ‘Directo Productions’. ‘Piaf! The Show’ celebrates the centenary of Edith Piaf’s birth and is a wonderful production that sees French singer Anne Carrere filling the impeccably large boots of Edith Piaf. Edith Piaf holds very special memories for me as my family and I would regularly go on holiday to Jersey. When I was four I asked the hotel pianist if she would play Edith Piaf’s ‘Non, Je Ne Regrette Rien’. The pianist as well as my family were astounded at my request, but as we would return year after year to the same hotel every time I walked into the hotel the pianist would always play the song for me and even gave me some of my first ‘piano lessons’.
With a packed line up of almost thirty songs we are taken on a musical journey of Edith Piaf’s life starting firstly in Act 1 with the beginnings of Edith Piaf singing in café’s for customers and serenading people alongside the River Seine. However, Act 2 is totally different with the show changing into a concert style performance and Anne Carrere’s performance as Piaf is totally mesmerising. There were countless famous numbers included allowing the audience to sing along with the music. The settings used on the stage were minimal yet extremely effective some of which being a streetlamp in Montmartre, seedy clubs of Pigalle and even the world famous Carnegie Hall in New York.
While performing on stage Anne Carrere was backed by a live band simply made up of a piano, doublebass, drums and the most amazing accordionist Guy Giuliano who was simply outstanding. The songs performed were a great mix from the well known such as Jezebel and Autumn Leaves and those not so well known to me such as ‘Bravo Pour Le Clown’, ‘Milord’ and ‘La Foule’.
The audience were left feeling as though we were watching the show in France as it was all in French. I really enjoyed the use of French as it brought more meaning to the music and made the portrayal of Edith Piaf by Anne Carrere even more special.
For those who have listened to Edith Piaf’s music you will know that she had a very specific sound to her voice and this is extremely difficult to impersonate, however, Anne Carrere manages to exemplify not only the spirit of the singer but also her unique sound. The legendary vibrato is captured with precision and even when dancing with men she had picked from the audience she stayed in character and didn’t let the accent go for one second.
The setting was also very effective in that during the singing a large projector at the back of the stage showed photographs of Edith Piaf through her many stages of life. Simple sets of a streetlamp alongside a park bench, bar and cafe tables provide the audience with a visual aid when listening to the music and following the story. This created the most fantastic atmosphere for the audience but the music with Anne Carrere alone is enough to entertain any audience and the enjoyment on stage was infectious.
For me this show was a dream come true and is the closest I will ever get to watching Edith Piaf singing her music live. It was therefore a terrible shame that the audience was so small in number as the performance deserved a packed audience. However, this did not deter the audience giving Anne Carrere and her band a standing ovation which was very well deserved.
I would recommend this show to everyone whether you are a fan of Edith Piaf or not as it is simply a wonderful celebration of all things French and the fabulous Anne Carrere is outstanding and I am sure when she performs at Carnegie Hall in New York I am sure she will be loved there also. If you ever get the chance do not think twice about buying a ticket as it is a must see show and your guaranteed a wonderful night out. Merci Anne Carrere vous étiez un artiste incroyable et vraiment fait Edith Piaf fier!
Merci d’avoir lu mon commentaire sur le fantastique Piaf ! Le spectacle.