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Theatre

Review: Cinderella, Riverfront by Gemma Treharne-Foose

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Cinderella, playing now at Newport’s Riverfront Theatre

When it comes to getting in the festive spirit, Newport might not always be the first thought that pops into your head. But Newport’s Riverfront venue was full of festive cheer this week as the City served up the first Christmas Panto of the season – the biggest the city’s arts team has ever staged.

One of eight venues run under the City’s ‘Newport Live’ banner, the Riverfront sits on the banks of the River Usk, and you can glimpse the city’s distinctive red ‘Steel Wave’ sculpture by Peter Finch from the windows of the café and terrace. For Cardiff and Valleys audiences, the Riverfront won’t be front of mind when it comes to theatre and the arts, with the WMC, New Theatre, Sherman and RCT’s Park & Dare and Coliseum venues hosting their own festive programme of new and family favourites. For many round my way, a trip to Porthcawl is an annual tradition that just can’t be broken.

So why go to Newport?

The Riverfront is far from a one trick pantomime horse. I had been before with my daughter to spend our Tempo Time Credits at a family cinema event and had a great experience. The venue has two theatre spaces, a dance and recording studio and ample accessible space to visit its café and hold events and workshops.

It’s position just a few minutes away from the Friar Walk shopping development is also a great way to get in some Christmas shopping and a pre-theatre dinner in walking distance to your show.

One thing you might notice about the Riverfront, though? The staff are great. I mean really great and genuinely interested in you and your experience. It’s something I haven’t noticed as much in some of Cardiff’s more famous venues. Perhaps they don’t have to work as hard for your custom…

That’s not to downplay what others are doing, but I really did notice a marked difference. Riverfront/Newport Live staff greet you, look you, look you in the eye and ask you about your day, ask you your thoughts on the show. There was a definite family feel in this venue that I hadn’t been expecting.

So this year’s show? An impressive turn from some familiar faces to audiences, with Gareth Tempest returning to this year’s performance as Prince Charming (being a former member of the children’s chorus at Riverfront in 2004) and Newport native Keiron Self as Buttons.

Actor Richard Elis (Eastenders, The Bill, Casualty and The Bill) does a fantastic turn as Candy, one half of the awfully endearing ugly sisters alongside Geraint Rhys Edwards as Flossie. Any Welsh speakers who love his silly and sassy Welshie portrayals and skits on ‘Hansch’ will be tickled pink to see his face in the programme.

Elis and Edwards have fantastic energy and sassy pants to go with their comic chops. They don’t even have to be speaking to make you cackle.

Between them and Keiron Self as love-sick buttons, there are plenty of quips, cheeseball lines, puns and innuendo you’d expect to see at the panto – not all of it hilarious, mind! The show’s setting in ‘Newport Bay’ by the sea is interesting and the set and staging is very well done, with the ensemble cast and choreography by Angela Sheppard bringing the show to life. I’d like to have seen more comedy spread to the female cast members as well…the traditional panto format shouldn’t save all the funny nuggets for the men. Trust me, Newport women are hilarious (my Newport family being the case in point!).

There’s a standout scene where Keiron Self is locked out in the rain and climbs up onto the roof while Cinderella is serenading the crowds. A beautiful bit of physical comedy. Of course, Cinderella and Prince Charming provide the schmaltz and the cheese, but their vocals are lovely and warming.

This year’s panto is part of a great 2019/2020 programme and I’d encourage you to consider it for your next night out.

Cardiff gets all the love and attention – it’s time to spread the love! Newport should no longer be the Ugly Sister when it comes to Theatre (ohhhh no it shouldn’t!).

Support your local arts venues, folks – and maybe….consider changing your usual haunt this year for a lovely little panto set in ‘Newport Bay’. Trust me, those Ugly Sisters will keep you chuckling long after the glitter’s been put away in January.

Cinderella is playing until 4th Jan 2020, see more at Riverfront

Literature

Review: Heartsong by TJ Klune by Sian Thomas

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Review will include spoilers.

An incredible continuation of a phenomenal series. I have to begin with applause – for one thing especially. The flow. I noticed as I began reading this book that something was different – not that it was a different character, place, situation – I expected all of that. I understand well enough the creative decision TJ Klune made to have the series circle multiple characters rather than just Ox and Joe, and I wholeheartedly respect it! But I definitely could tell the difference from the beginning of this book compared to the others. Once I realised what it was I was in awe; as Robbie’s memories became less hectic, and as he became more trusting and open of the Bennett pack, the story began to feel less choppy, and much more smooth. The transition into this was so effortlessly made that I hadn’t fully noticed it until I was about half way through the book. I don’t know if this was something that was done on purpose (if it was, that’s amazing and inspiring), but it truly was incredible; it felt like honest craftsmanship coming straight through the pages and falling into my lap. I love it, it makes TJ Klune feel like an author to really look up to.

I already loved this series, and have for a while now, so I knew I was in for a great story when it arrived. To speak from a place of real honesty, this is a series to experience rather than read about second hand. The way the emotions of the characters – of every character – come through the books so clearly, stark and vibrant, is fantastic. The book is full of feeling, there really is no shortage of it, and it’s refreshing to see, especially since a lot of the “main cast” is male. This is something I’ve always adored about the writing style, there is no fear in it. Characters are everything and anything, given real time to process things and react to them, and each of them is so individual and unique – there are traits in everyone that are recognisable and easy to relate to, and I love it.

Ox has my heart, as always, so he remains my favourite characters. It’s been such an experience to see how, through other’s character’s stories, his is still growing and moving forward behind the scenes – and I’m very much looking forward to seeing what it all is going to accumulate into. I love how he’s progressed through the series, the way he’s changed from shy and insecure to this Alpha character now is unparalleled. I feel proud of him and his growth, almost.

I don’t think anyone could even try and convince me not to give this book five stars, there was so much in it to enjoy: the making, breaking, and repairing of character’s relationships (most notably Kelly and Robbie’s relationship being strained and strengthened), watching a hero’s journey move forward, Carter being amazing (I’m very excited to see what happens with him, next), and even things like watching how the “bad guys” are moving on from fabled things of nightmares to real, honest figures of terror. I can’t wait to see what happens in the next book, another hit – I’m sure – in this phenomenal series.

I know this review isn’t too plot-detail heavy (I don’t want to ruin things), but I stand by what I said: this book is to be read by you, not by me telling you what I read.

Sian Thomas
Literature

Review: My Bright Shadow by Patrick Jones by Sian Thomas

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Though I do adore both writing and reading poetry, I admit to having not previously heard of nor read any work by Patrick Jones. That being said, being presented the opportunity to discover him, I took it quickly. Not knowing a poet wouldn’t stop me from learning of them – besides, the process is always enjoyable. Poetry in itself is enjoyable. I’m always excited to read more, and I’m glad I did.
After reading through the whole anthology, I definitely decided on some favourites! Namely: Plume Angel, The Smell of Sundays, Wrapped in the Arms of Ghosts, Lovesung, The Presence of Absence, Mothering, and When are all in my favourites, for a bunch of different reasons.
Plume Angel was the first one to show Patrick Jones’ use of white space, which is a technique in poetry I both utilise (often) and really love to see. It makes the poem much more interesting, when your eyes are darting all over a page rather than just going in one expected direction. I loved the feel of this poem – it was very gentle, from the get-go. The first stanza was my favourite one, but my favourite line was, “tiny talismans / crashed to / earth / from an icarused flight”, solely due to the image of falling people and falling feathers. There, despite the softness, was also a great sadness to it (which is understandable, based on how the book itself and all the poems were born from a son’s experience of a mother with leukaemia). In a similar vein, Wrapped in the Arms of Ghosts also has this feeling with peppered in lines that I find really satisfying. For example, “clinging to sepia stained memories / bleeding frames and flickering effigies / hearing voices from forgotten melodies / is yesterday to be our only legacy” I found to be a lovely line, with a lot of emotion threaded inside and around it – especially considering the sounds that comes from reading or speaking them, which further created an positive impression and reaction from me.
Throughout each of the poems I found that drew me in was a consistent and understandable melancholy. The feeling was crafted really well, and also waded in and out with other things, too. Regret, wanting to go back, feeling the pressure of time and how we should be cherishing the seconds we have (which I do love, as a theme, it has a tendency to humble me and very quickly). The poetry was impressive, with really nice flow and images, although seeing the white space was definitely my favourite thing to take note of.
Lastly, Lovesung was one of my favourite poems, because it opened up a discussion I’ve been having within myself a lot lately. It came for my questioning if poetry and writing is an escape, and if it is – if it works? It came head-first towards my own habit of reading and writing to escape the endless refresh of bad news on Twitter, and the constant background noise of the world running all too fast away from me. And I really liked it, because it almost felt like being seen, and being coyly nodded at in a “I do this too and it’s nice and we maybe probably won’t tell anyone” kind of way. I loved it.
I’m giving the book three stars because I found some of the poems harder to untangle than others. I know full well this is a subjective area, full of people with subjective thoughts, but though these poems were well written and used really lovely language, some of them (for example, The Presence of Absence) did give me trouble in trying to decipher what – in that moment – was happening. I could understand the general sadness and regret leaking out of the poems, but other lines were more puzzling than expected. Which, having said this, could be seen as either good or bad by anyone else – but for me it did disrupt my enjoyment of treasuring the past and dwelling on actions and the present. Because of the grief hanging off some of the poems, I did find it a bit difficult to fully engage, however, this doesn’t take away from my admiration of this collection being published at all, when each pieces is so deeply, deeply personal. That’s worth respecting.
I’m glad I got a chance to read this work. I do love poetry and reading it is always an experience to be had. I had fun, and enjoyed what I saw. I would read it again.

Sian Thomas
Literature

Review: Every Word You Cannot Say, Iain Thomas by Sian Thomas

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Iain Thomas is my favourite writer. Author. Poet. He honestly seems to be an advocate for self-love, for loving others, for recognising good from bad and good from great, for love, full stop. He seems to be an advocate for enjoying whatever it is you find in this world that you enjoy. I enjoy his work, more than I’m sure any language can help me spell out, and yet each time I try.
On my bookshelf, there is: I Wrote This For You, I Wrote This For You And Only You, I Wrote This For You Just The Words, I Wrote This For You 2007-2017, How to be Happy (Not a Self-Help Book. Seriously.), and 300 Things I Hope. And somewhere on my makeshift bookshelf because my real bookshelf is far too small for my wants, is I Am Incomplete Without You. I’m excited to add Every Word You Cannot Say to either of the shelves. I literally find myself unable to say that there’s any other author out there who I have followed this closely, for this long, and been so consistently delivered greatness on simple pages between a simple cover by.
I knew it was coming, the release of this book, and like many I did have to wait my turn to get it. When I did, I was in Waterstones, halfheartedly hoping they would have it (I was not convinced that they would). And I saw it, all the way down the bottom, way to one side: bright blue, jutting out, so different to the greys and blacks and whites (and one bright yellow) that I had grown used to associating Iain Thomas’s name with. I snatched it up and gave it the common flip through, and I loved the look of it and the feel of it and the way it felt exactly like all the other books of his I’ve read: like it was sure to give me something amazing. Which it did.
I ate this book up. Read it quick, flicked through again for an age, put sticky notes on the pages of my favourite pieces, used a highlighter on the ones I really didn’t want to part with. Like on page 131, “There is no register in the sky keeping track of whether or not you got angry as many times as you were supposed to. / You get to decide what eats you up. / And you have no obligation to kindness. / You can be kind as often as you want. / Kindness is not a currency, and if you treat it like one, then that is not kindness. / Within you, there is all the kindness you will ever need.” Or, page 80, “Maybe, in the story of your life, someone has written: / You cannot say why you loved them. / Only that you did. / Only that you don’t anymore.”
This book felt so new, and so fresh and different, somehow, from the other ones, despite still creating a warm and homely feeling in me as I read it, exactly like all the others had. I loved that, that kind of feeling from these books and these poems in particular, I always believe that that is irreplaceable – after all, I haven’t experienced it anywhere else or with any other author. I loved that there was playing with form, structure, even colour of the text. The drawings peppered throughout were lovely, and always in the right places.
I wish this is what all poetry did, that this feeling I got from this book is what I got from each one. I know that would make these books less special, but like I said: Iain Thomas really seems to be an advocate for love. I’m almost convinced he’d understand. And even still, this is one slice of favouritism I am not entirely ready to give up. This is why I gave it five stars. I always will.
Iain Thomas has a real skill here, an honest craftsmanship that I wish I could come close to. Some days, I try to (see: the centos I submitted to university groups, just so I could spill out a fraction of what I feel for this writing when it was my turn to talk).
I love the book. I knew I would.

Siân Thomas
Theatre

Review: Ageless, Sherman Youth Theatre, Sherman Theatre by Sian Thomas

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All photos credit Chris Lloyd

Yesterday, I saw Ageless at the Sherman Theatre. I haven’t been to the Sherman for some time, the last time I was there was for an event for the Cardiff Fringe Festival last year and it was nice to be back. It’s always a lovely venue to attend, it creates a really specific, really capturing atmosphere.


The play, Ageless, had a really interesting concept. A pill being made in order to cheat ageing. Essentially, live forever, and to live forever young. In addition to this concept, there were also a multitude of characters – each with different, and clear, motivations – easily ones to root for and enjoy seeing when they came on stage. Along with this came a really compelling atmosphere – especially when the scenes conveyed a group of rebellious teens fighting against this pill being made and distributed, a couple who have been taking it, and the two head scientists who made it. Bouncing between these three gave a really good depth to a world that no longer really ages, and I really liked seeing the tension between the three be created. There was a really good split of stage time between “young and old” to make the story really interesting and quick to figure out who’s side you were on.


Like always, the Sherman has incredible setting. I saw, what feels like a billion years ago, their production of Romeo and Juliet, and I remember how fun the stage looked then. This stage, just as that, was fun, too. And also practical – I really liked the way the cast would move it around to create a different atmosphere and setting.

The end was pretty clever. I liked the implications it left its world and the audience with. If the “being ageless” pill left takers with minuscule chances to have children, then it created a much bigger situation than just this revelation and the subsequent reaction. Essentially, it feels like there should be an Ageless 2 exploring “what came next”. The premise of the play, and the way the play itself was delivered, almost feels like it should be a TV show pitch, and I think the story idea there could definitely go far.


I’m really glad I saw it on one of the three days it was showing. It was a lovely watch of an intricate, almost dystopian, world.

Sian Thomas
Theatre, Uncategorized

REVIEW: Bummer and Lazarus at The Other Room by Gareth Ford-Elliott

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3 out of 5 stars (3 / 5)

Bummer and Lazarus is an absurdist play by Yorkshire-based Big Egg Theatre. Loosely based on two real-life dogs of legend from 1860’s San Francisco, we follow Bummer and Lazarus as they try to find food and a way out of the room they are stuck in.

Whilst Lazarus has an existential crisis and is desperate to know the meaning of everything, Bummer is much more grounded and focused on the goal of escape. Lazarus asks an infinite amount of questions before truly testing Bummer’s patience, driving the conflict throughout.

The writing from Jack Harrison varies a lot. There’s a lot of subtlety to the writing which is brilliant and the rhythm at times is great. But the mood and tone rarely shift which makes the production a little stale.

Bummer explains the existence of time, inanimate objects and indeed existing itself to the curious Lazarus. However, this is all stuff the audiences knows and the novelty of Lazarus’ innocent thirst for knowledge wears off quickly.

These conversations fill the time but don’t hold the attention. There is some wit and humour, but really not enough to carry the play. The subtlety of the relationship changes are good, but ultimately the play doesn’t fulfil its potential.

The performances also vary. The physicality between the two is generally good. Bummer the old, wise, beaten dog and Lazarus an excitable puppy. But where the physicality works, the emotion behind the characters feels bland and underdeveloped. Perhaps an issue with the writing but the performances from Jack Harrison and Alec Walker don’t do enough.

Some people will love this show. If you can get over the issues, there are certainly things to enjoy in this production. If you’re a fan of absurdist theatre, then definitely go and see this. The potential is certainly there, it’s just not quite hitting every note.

Bummer and Lazarus is an absurd comedy about two dogs working through an existential crisis that doesn’t quite realise its potential.

Bummer and Lazarus is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets can be found for this and other upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.

Bummer and Lazarus performed at The Other Room
05 – 08 March 2019
Presented by Big Egg Theatre Company
Written and Directed by Jack Harrison
Produced by Lydia Harrison
Performed by:
Lazarus – Jack Harrison
Bummer – Alec Walker
Assistant Director – Dave Reeson

Film & TV

Review: How To Train Your Dragon 3 by Sian Thomas

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Seeing as this movie what something I was the most excited for this year, I think it’s safe to say it has lived up to what I expected it to be, and then exceeded it. My interest in this series began forever ago, in the early birth of my teenage years and it ends fittingly, at the end of said teenage years. It felt like a neat end to a neatly set-up series, and I did really enjoy it.
These movies, though typically for people younger than me, are so easily enjoyed that it’s hard to feel that age based disjoint. The jokes are still strong, the animation beautiful and easy to follow – smooth and alluring, and the story itself is still interesting. Following all the same characters, we end up watching their next journey: separation, threat, and the almost more-threatening threat of real life dawning over favourite young underdog characters. That, in itself, is quite the shake. Watching Hiccup, who can’t be much older than 14 in the first movie, become a chief and a husband, yes – it was quite the shake.
Watching the conclusion to this series was cathartic and sad an promising. Leaving audience members like myself with a recently-dried tear, but the twinge of its feeling still very much real, even if it remains labelled as a “kids film” – I think it’s due the credit of far exceeding that. Especially after tackling topics like family member death, coming of age, responsibility, marriage, and separation. The progression of this series is almost like watching children grow, and it’s been an amazing experience.
Jokes stick out, and so do designs. The subtle ageing of returning characters, and the surprising looks of new ones. The villains, in particular, have also had intriguing designs; like Drago in the second movie, and the villain in this one just the same. They were opposites to each other; rugged and sleek, but they still conveyed such a huge feeling of threat in each movie. Flashbacks stay with you, glimpses into the future do, too. The finishing lines explaining the idea that dragons still exist, waiting for humans to sort ourselves out, was somewhat hopeful and glaring obvious to its meaning – and that kick to such a soft and innocent (mostly) series, was honestly lovely to see.
I’m hesitant to spoil things, of course, because the trio of movies is one to be enjoyed rather than explained. They’re an easy binge, if you start early enough in the afternoon, surely.
I really did enjoy this film. I’m glad I saw it and I’m glad that it’s tied the bow on the franchise so exceptionally.

Siân Thomas
Theatre, Uncategorized

REVIEW: SEE-THROUGH at The Other Room by Gareth Ford-Elliott

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4 out of 5 stars (4 / 5)

See-Through is an amusing exploration of Claire Gaydon, a 29-year-old, Drama school graduate, “giving it a go” on the old YouTube. A semi auto-biographical play about boundaries online, oversharing and the relationship between a mother and daughter.

The play opens with Claire Gaydon singing ‘Gimme More’ by Britney Spears, (an excellent song choice), before she sits down, back to the audience and presents herself through a screen.

Early on, Gaydon establishes her character and tells us this is a true story with a few fabrications. The character finds her voice and begins establishing her channel. Starting out with generic challenges and funny videos with her mother. The more she shares, the quicker we learn that other content will get more views.

In particular, content where Claire overshares with titles such as “Sex and Weed”. The more she overshares, the more she knocks down the boundaries between her and the audience. Eventually, Gaydon goes too far and shares a very personal experience. Something she hasn’t even told her mother, who subsequently finds out through the video. This forces Claire to re-evaluate and reflect on her YouTube experience.

The performance from Claire Gaydon is strong. It’s obviously a personal piece, but one she is critical and self-aware about in her performance. Gaydon obviously enjoys the funnier moments of the script, but it is the more serious ones where her performance is strongest.

The writing is witty and amusing but doesn’t hold back on personal details of the character. Despite seeing the majority of the performance via a screen, we get to “see-through” to the emotion of the character behind the screen. This is something we don’t get in real world YouTube which works really well and is a really nice concept.

A worry going in was that the play would trivialise YouTube a bit, but it doesn’t do this. Another worry was that the use of technology would take away from the intimacy of the play. But if anything, it allows us to get even closer to the character. Gaydon just has fun with it and through a good use of technology delivers an interesting piece both in terms of its content and presentation.

There are moments that could be cut a little. Moments that drag, especially near the start, where Claire researches YouTube – which ultimately serves as a quick introduction to audience members who are not so familiar with the platform. We learn a little about the character through this, but really not enough for the opening minutes. This is, however, carried well by humour and is the only real blip in the production, and one which is ultimately understandable.

See-Through is not the most plot-heavy play, but its strength isn’t in the plot. There is a story that jumps around in terms of timeline, revealed through the screen chronologically. But this is more of a character-based piece which peaks as we eventually go behind the screen and see Claire writing a letter to her mother.

A real strength of the play is that it could go down with any age-group. Anyone “older” who is put off by the mention of YouTube really needn’t be. It’s objectively funny and enjoyable as well as having a deeper message and a story to tell which will resonate with almost anyone in some way.

The message is subtle and well crafted, which is a testament to the writing and performance of Claire Gaydon. It’s intimacy and excellent character work will have you thinking about it long after the production is over.

See-Through is a humorous, intimate and emotive play that explores the character behind the screen of an aspiring YouTuber.

See-Through is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets can be found for the upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.

SEE THROUGH performed at The Other Room
21st – 24th February 2019
Created, performed and presented by Claire Gaydon
Associate Directors: Jaz Woodcock-Stewart and Grace Gibson
Music by James Jacob
Video Editing Support: Joseph Brett
Stage Manager: Ben Lyon

Theatre, Uncategorized

REVIEW: JUST A FEW WORDS at The Other Room by Gareth Ford-Elliott

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4 out of 5 stars (4 / 5)

Just a Few Words explores the psychological and emotional impact of having a stutter. How that affects your everyday life and indeed, your love life. We follow our protagonist (Nye Russell-Thompson) as he struggles to tell the woman he loves how he feels.

I’d heard a lot about this piece and my main worry going in was that the writing would be structured poorly. This isn’t a worry that need be had. The writing from Russell-Thompson is brilliantly structured as we follow the protagonist’s journey through his mind, preparing what to say.

Just a Few Words is frustrating at times as a slow-moving piece of theatre, deliberately so. This allows the audience to imagine, if not feel, the frustration that can be felt with a stammer. Not to pity but understand. You never feel sorry for the character which is a real strength of the piece. He feels like someone going through something which is presented as normal and relatable.

A one-man-show created and performed by Russell-Thompson, you can’t help but notice how this is more real to Nye than it would be to another actor. Even without the knowledge of who he is. This is a credit to his abilities as an actor, but also serves as a note to organisations who don’t hire disabled actors to play the roles their disabilities represent.

The debate about stammering being a disability will continue, a debate I’m not qualified to comment on and one this production doesn’t claim to solve. But what this play does present clearly is that Just a Few Words is stronger because of Nye’s personal performance. And it is the character’s emotive story that is the main strength of Just a Few Words.

The music and sound utilised in the production are excellent. From stuttering on an Otis Redding love song played on a record player in the beginning, to a grainy, static from said record player that runs for the entirety of the play. The sound is simple but adds a huge amount to the ambiance.

The minimalist set is great too. A record player in one corner, a table in another and the use of pre-written cards which act as subtitles for our protagonist’s thoughts that scatter around the stage complete the show and makes it everything fringe theatre should be.

Just a Few Words is an excellent and relatable portrayal of life with a stammer, blending a beautifully minimalist approach with powerful writing.

Just a Few Words is part of The Other Room’s ‘Spring Fringe’ curated spring season. One of eight shows coming to Cardiff’s only pub theatre over eight weeks. Tickets can be found for the upcoming Spring Fringe shows HERE, with an ever-growing discount for the more shows you book.

JUST A FEW WORDS performed at The Other Room
13th February – 16th February 2019
Presented by StammerMouth
Created and Performed by Nye Russell-Thompson
Stage Manager: Megan Randall

Theatre, Uncategorized

REVIEW: BLUE at Chapter Arts Centre by Gareth Ford-Elliott

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5 out of 5 stars (5 / 5)

Blue is a powerful drama set by the Welsh, Carmarthenshire coast which centres around the Williams family dinner in the looming absence of a father figure.

The play starts when daughter Elin brings former teacher, Thomas, home to sleep with him. However, to Elin’s surprise her brother is in and her mother home early. A confusion over Thomas’ presence ensues and drives the play forward.

Thomas finds himself awkwardly caught in a family argument under tragic circumstances but is ultimately the trigger for improvement and progress amongst the family.

The writing from Rhys Warrington is brilliant. Meticulously paced and incredibly detailed, the script starts out light-hearted and funny but as it progresses, and delves deeper into the characters, we notice something isn’t normal. At no point does anything feel forced, the play flows naturally and develops with great care.

Blue is subtly political in talking about lack of funding for the NHS. But doesn’t stray from the importance of the characters involved whose lives are being ruined by these cuts.

It’s fair to say, Rhys Warrington is off to a great start with his first feature-length play and I can’t wait to see what he writes next.

The direction from Chelsey Gillard is simply stunning. Every aspect of the script is explored diligently. This play could have been easily mismanaged but Gillard controls it masterfully. Beautifully allowing performers time to draw scenes out and the design elements to set the scene. Chelsey Gillard is forging a name for herself as one of the pioneering directors of contemporary Welsh theatre and her achievement with Bluehas only boosted that claim.

The performances are exceptional from every performer. Sophie Melville is brilliant as Elin. Proving once again what a talent she is, Melville encapsulates the final stages of teenage angst with growing mid-20’s maturity brilliantly.

Gwydion Rhys plays Elin’s shy brother, Huw, expertly. His eyes lighting up the moment Thomas asks about Minecraft. A heart-breaking and simultaneously heart-warming moment as it’s clear this is the first time someone has taken an interest in his interests outside of his online alternate-reality. We can all relate in some way to Huw and Rhys’ portrayal is a testament to this.

Jordan Bernarde’s performance as Thomas is handled with as much care as the character is attentive to the others. We can sense Thomas’ awkwardness and even though we’re aware he’s really there to sleep with Elin, we see his kind-hearted nature too. It’s only when Thomas exits the play that you realise the impact Bernarde’s performance has on the production.

Choosing a standout performance is near-impossible, but if we are to do so, it has to be Nia Roberts in portraying the matriarch figure, Lisa Williams. Everything is perfect from Roberts in this performance. At the mention of her husband, everything about her character changes, from tone to body-language – perfect. This performance will standout as one of the best in Wales this year.

The sound design from Tic Ashfield is very understated and effective. The sound mostly soothes into the background, almost unnoticeable if you’re not looking for it – but is powerful and essential to the production.

Oliver Harman’s design is simple and functional. Detailed to what one would expect any living/dining room to look like, with nothing left to waste. The blue door is, in particular, a nice touch.

Ceri James’ lighting is an essential tool for setting the mood, which James does excellently. Subtly changing throughout and providing a nice alternative to blackouts between scenes which is specifically good. The slight blue tint in some of the lighting is also lovely.

It’s frustrating when a production leaves the design elements as an after-thought and whilst it’s very subtle in Blue, the design, on all fronts, contribute hugely to Blue’s artistic success.

It’s important to stress what a team effort this production is. Huge credit must also go to Rebecca Jade Hammond for creating and producing this piece, as well as all involved at Chippy Lane and Chapter in the making of Blue.

BLUE is a heart-breaking drama about a family split in their grief of a father figure who is both no longer present and not yet absent.

BLUE performed at Chapter Arts Centre, Cardiff
World Premiere 5th – 16th February 2019
Running time approximately 90 minutes
Created and Produced by Rebecca Jade Hammond
Written by Rhys Warrington
Directed  by Chelsey Gillard
Cast:
Elin – Sophie Melville
Thomas – Jordan Bernarde
Lisa – Nia Roberts
Huw – Gwydion Rhys
Designer: Oliver Harman
Lighting Designer: Ceri James
Sound Designer and Composer: Tic Ashfield
Dramaturg: Matthew Bulgo
Co-Producers: Chippy Lane Production and Chapter
Stage Manager: Bethan Dawson
Production Assistant: Sophie Hughes
BSL Interpreter: Sami Thorpe
Photography: Kirsten McTernan
Marketing and PR: Chloe Nelkin Consulting & PR