3rd Act Critic Barbara Michaels gives a personal response to being a critic with Get the Chance.
With over half a century of reviewing under my belt, I can hardly remember a time when I wasn’t passionate about both music and theatre. This was intensified when I got my first job on a local paper. I was eighteen, as the most junior member of the staff – and the only female in the days when women on newspapers were few and far between. I was expected to cover tasks such as weddings, flower shows and (to my delight) amateur dramatics.
This was a wonderful training ground which led to me covering professional theatre on my second paper. My big break came later, when I was working freelance and also running a syndication agency. The reviewer covering a first night ballet performance at the Royal Opera House at Covent Garden was ill and asked if I could do it. I have always loved dance but had never previously reviewed a dance production so cut my teeth on the Creme de la Creme. To this day dance is my favourite of all the art forms and – like all the arts – underfunded, if I had the money (which, as an OAP, I don’t) I would support.
Opera in Wales is still regarded by some as only for the elite. This is far from being the case. Please give it a try! We are so fortunate in Wales to have the WNO – a world-class opera company performing in a wonderful venue. Their production of Richard Strauss’s Der Rosenkavalier, which I reviewed recently, was as near perfection as you are ever likely to see.
getthechance.wales/2017/06/18/review-der-rosenkavalier-wno-wales-millennium-centre-cardiff-barbara-michaels/
Life is busy for me. As well as reviewing I edit a community magazine and last year published my first book for young children, entitled WHAT’S THE MATTER WITH SLITHERS? The publication of the book, shortly;to be featured in a Cardiff book festival, coincided with the birth of my first great granddaughter Chloe Jo, and I am now expecting another great grandchild.
One Was Lost was a book I picked up because I had decided I wanted to branch out a little further from my normal cheesy YA book, or my normal poetry book. I have a tendency to stick close to my comforts in a lot of areas, including reading, and this book was able to help me breach this constraint.
I had decided to stretch out further and try my hands at a story more centred on thrill, horror, mystery, suspense. For a while now, I’ve wanted to experience a book that made my chest constrict in a funny way, in a way that made me scared. I know we’ve all had our hand at murder mysteries and crime novels and even television crime dramas or horror movies, but none of those ever seemed to settle right with me, and none of them ever seemed to really be what I was searching for. One Was Lost managed to do something that a book had yet to do for me.
Most things that I read I can usually guarantee a happy ending, or at least ones where all the characters live, save for Shakespeare’s works. Most of the time, I’m pretty much certain that’s how things will go, and I usually hope for that, too (I am guilty of really, really loving a happy and pure ending). With One Was Lost, I was less sure of this, and in turn, I hoped for it much more fiercely. I wanted it to end well so desperately and was so torn that it was the a book that just might not do that, that I felt that little constraint in my chest that I had wanted to feel. As the characters got put in more and more danger, and the likelihood of a happy ending seemed to dwindle, I got more and more entrenched in the story and more and more hungry for answers and a good ending. When there was one, I felt relief and happiness so big and all-encompassing that I was sure I was a balloon that had been blown up to bursting. It was such a wonderful feeling, another I admit I am guilty of enjoying, to watch characters trudge through the unimaginable, and come out the other side. I hope my praise can reach out to the author, Natalie D. Richards, because I am brimming with it. The feelings I had throughout my read were incredible, and something I’m glad to have experienced.
All the characters are interesting, with their own little stories that fade impact and shape the bigger, overall plot. Each of them (like our main character, Sera, and the others, Emily, Jude, Lucas) were all lovable and easy to attach oneself to in different ways. All of them had characteristics I loved, and attributes I admired, and in the midst of their heavy story, it was still wonderful to see them in my mind’s eye interacting and even laughing. A brief summary can be found on Natalie D. Richards’ website: http://nataliedrichards.com/books/onewaslost/ as this can supply an explanation and introduction to the book better than I can, as I do not wish to spoil anything.
To add to this even more, the writing made this feel even more real. It was clear and concise, and unbelievably detailed. There was a period in the text where Natalie D. Richards describe the feeling of thirst so well and so closely, that I found myself feeling thirsty and scrambling for bottles of water to get me through.
I give this 4 stars. It was a good introduction to the other aspects of my usual YA genre with a far more intriguing and mysterious core, and I did enjoy the story of it incredibly so. I very much loved it.
(5 / 5)
The Thief Lord by Cornelia Funke has been a long time favourite book of mine. I read it first about five years ago, and I remember reading it, loving it with my whole heart, finishing it, and instantly reading it again.
Once upon a time, I was recommended it. Someone that I knew once knew how much I loved the Professor Layton game, “Professor Layton and the Last Spectre”, as within this game there was a small gang of poor and homeless children who banded together to keep each other safe and warm who I took an overwhelming attachment to. The Thief Lord reminded them of these characters, and in turn, of me. And I could not be more grateful to have discovered a book that reminded me so much of characters I already loved, and created whole other characters who I loved just as much – perhaps more. Not only did these characters hold such a special place in my heart, they’ve stayed there undeterred for years. Even as I continue to consume new media and content and entertainment, there has yet to be something that knocks Cornelia Funke’s The Thief Lord from its #1 spot in my heart.
The plot is sweet, and something I loved all those years ago an equal amount as I still love it now. It is mysterious and alluring and downright fun – and to top it all off, the way it’s presented is unimaginably atmospheric, which is a factor I love an immeasurable amount. Being set in Venice, somewhere I have always wanted to go but have yet to find the opportunity to get there, it was like I got to go there for myself. And even better, it was like I got to go and I got to relive this story again and again in a place as beautiful in real life as it is in my mind’s eye.
The writing made this atmosphere even more incredible. The way Funke would describe the water and stone, the pathways and alleys, the boats and the famous buildings was mesmerising. The way it was written had a hand in shaping my own writing goals, as I also love at atmospheric touch in my own work. This has shaped me for so long and is so intrinsically a part of me that honestly I am so, so happy.
The characters are all lovely, each with their own unique personality and lovable traits. My favourites were always Prosper (our main character), Victor Getz, and Ida Spavento. I always thought, and continued to think of them, as lovable forces who would keep anyone safe – which they did. Prosper takes care of his younger brother, Bo. Victor Getz helps care for them (and the other runaway kids), as does Ida Spavento. They all just seemed like the sweetest characters, who I feel unimaginably lucky to have discovered and cherished as much as I do.
I give the book 5 stars, as it holds such an important place on my bookshelf and in my heart. It remains my absolute favourite book, and I’m sure that will continue to be the truth in the foreseeable future, and probably also beyond that. I cannot recommend it enough, especially to those who love heart-warming tale.
In a movie there is the image, the score, the sound effects, the performances, the camera movement and, if so chosen, the colour. Usually one element shines or we can say that two were in great harmony, but almost never can they all be brought together, layered and baked to create one infusion of all creating a great experience.
Like what Damien Chazelle did with La La Land, Edgar Wright takes the elements, aesthetics and sensibilities of the old and create something modern with them. With that movie it was the Hollywood musicals, here it’s the pulpy heist movie.
The car pulls up outside a bank three of the people in the car get out, go to the trunk and take out guns then they slip on masks and enter. Another remains in the car, a young man that decides to lip sync along to the tune playing on his iPod. When they come back he drives. The young man behind the wheel goes by Baby.
Baby is a fresh faced young man that’s constantly plugged into his iPod listening to music with a pair of sunglasses on. He listens to music because he suffered an accident at a young age so he plays music to drown it out. Ansel Elgort plays him with swaying interest. At times wanders through life being much more interested with the music playing in his ears and others completely focused on his situation.
Baby’s employer and the one who setups these heists is Doc (Kevin Spacey) a controlling, nonsense man that goes by the mentality that it’s either his way or the highway. There’s also Buddy (John Hamm) and Darling (Eliza Gonzalez) a married couple that are like Bonnie & Clyde, happiest to be in each-others company while pulling these jobs. Then there’s Bats (Jamie Foxx) who seems more than a little unhinged, crime seems to come almost too easy to him. Naturally these are just code-names so none of the members can turn in the other as well as making the characters more easy to remember, like in Reservoir Dogs.
A an extra storytelling layer the ringing in his ear serves as so much more. We as mammals have learned to be fearful of high-frequency sounds because we used that to predict earthquakes. So that noise is cutting to a deep base instinct within us as human beings. We feel that either the situation is untrustworthy or that something bad is coming.
If you decide to make your movie in colour then you must use the colour. Most times filmmakers have a colour movie because that’s what expected of them and put no extra thought into the extra layer of storytelling they have. Not here. The movie has an appealing colour pallet of minty colours with a few deeper ones in harsher scenes. Every character has their colour which they either wear of expresses itself on the setting.
The editing, like all Wright movies, is a sleek, succinct experience with no frames gone to waste. He uses his regular tricks of panning’s combined with wipe cuts to create a seamless momentum that takes from inside, to outside, from one setting to another in within thirty seconds that would take others much longer. Other times he incorporates long shots that play like a skilful ballet between the actor and the camera. Within the moments of snappy cutting it never becomes confusing or disorientating because a) whats in the shot is simple and clear b) the colour helps to further register who it is doing what.
The soundtrack is composed with the greatest care. Edgar Wright is clearly a music enthusiast but it goes beyond that. We’ve had soundtrack’s with plenty of catchy songs in them (example Guardians of the Galaxy) but this goes deeper. This picks a song and completely dissects it in terms of it meaning, the lyrics, the rhythm and tone and infuses it into the scene. Sometimes it obviously fits the context of the scenes it picked for other times it ironically plays over a contrasting one.
One day, while getting coffee at his regular diner he becomes enchanted by the humming of a waitress Debora (Lily James). They both clearly have a love for songs and being on the road.
I have gone this far in the review without talking about what will probably be the main talking point for other critics, the car chases. They are well executed with fluid camera movements and impressive stunt driving as well as setups that are original, so much so that it’s almost like watching a martial arts fight scene with a car.
Baby Driver is a movie made by a man that loves nearly every aspect of cinema and is talented enough to draw as much as he can from every bit of footage he’s able to show you. Nothing goes to waste and is all entertaining. If you want to have fun you will be, if you wish to have an efficient, well crafted piece of cinema, you will also have that. Either way, take the ride.
(3 / 5)
The hit West End comedy with its unforgettable characters from the landmark novel and Oscar-winning film are brought to life on the stage of Cardiff’s, New Theatre.
Based on the novel by Charles Webb and the 1968 film, it concerns Mrs Robinson’s played by Catherine McCormack, seduction of young middle class rebel without a cause character Benjamin Braddock, played by Jack Monaghan. Who is struggling to come to terms with his future, worrying that his family expect too much from him, and feels thoroughly disillusioned. However, when seduced by long-term family friend the sensational Mrs Robinson his boredom takes a new direction. And when he has a date with Mrs Robinson’s daughter Elaine, he finally finds some meaning to his life, a meaning that Mrs Robinson opposes!
There is no denying that since it was first written and later immortalised on the big screen the world has drastically changed, which is reflected both in Terry Jonson’s adaptation and Lucy Bailey’s direction of the story for the stage. In no way does it shy away from the prejudices of that time, and in doing so gives the audience a sense of progress that we as a society have made in regards to sexism. Yet at the same time it gives you pause for thought in relation to how little progress we’ve made in some areas too – especially our ability to communicate with those around us. This theme in the play gives a great sense of amusement and laughter for the audience, especially when touching on the idea of a ‘generation gap’ in scenes between Ben and his Dad. As well as a much-needed sense of relevance, as we now live in a world where such dalliances have become the norm albeit not always outwardly accepted by those around us. Yet the idea that young people see a different future to their parents, but struggle to communicate that future, is still very much relevant albeit not as new as it was in the 60s.
However, to pull off Charles Webb’s original novel, which is a thing of beauty, takes a cast of supreme talent to pull it off. Unfortunately on this occasion, Bailey has failed to assemble such a cast; there was a lack of chemistry between the two leads and the attempt to bring emotional ballast to the piece in the second half by bulking up the role of Mrs Robinson’s daughter, Elaine, played by Emma Curtis. Turned The Graduate from being a dark, funny and beautiful satire of suburbia into a thin story about a kid who feels unsatisfied with his life, chucks his chances away and emerges relatively unscathed at the end.
From the opening we have questions, through the watching of the movie we gain context on those questions and will probably form our own opinion, but no answers. Few can have the gut to attempt such a feat let alone tell their story successfully.
My Cousin Rachel is a Gothic mystery, though not like many, due to it’s ambiguity. It is a tale of treachery, love and how there are secrets that people carry and sometimes you will never know them.
The movie opens with voice over from our main character Philip (Sam Claflin) asking the questions that will drive the movie and establishing his backstory. He grew-up being adopted by his cousin Ambrose and living a very happy life. When he grows up he leaves for Italy, leaving Philip alone. He writes to him, telling him that he’s met a woman named Rachel and have gotten married, through time he also writes that he’s getting ill. One letter arrives though, saying that she is the cause of his illness and he needs help. Philip goes to Italy but when he arrives Ambrose is dead and Rachel has left the estate. Philip is certain that Rachel killed him and vows revenge, however it is said and confirmed in the death certificate that he died of a brain tumour which caused delirium. Philip doesn’t accept it and prepares his home to be a trap for Rachel.
However when she does arrive it is followed by Philips plans not quite going as he intended and her melting away of all expectations. She is pretty, charming and humorous. Philip, who has spent such little company with women before, is no match for such charm. Suddenly he is telling his godfather (Ian Glen) and God-sister (Holiday Grainger) of all her fine qualities.
Rachel Weiz as Rachel is able to display this character as so many things. Instantly full of life and likeable, sad and grieving, but also flash hints of possible sinister intentions. It is in these little moments, that amount to a glance here and there and certain notes in her voice that make you guess that there might indeed be something else.
The movie is all about details, the binding of legal contracts, a phrase a character says, a precious possession that is worth so much. The words and phrases crystallize throughout and after the watching, becoming symbols of the story itself.
If you like you movies to be simple and at the end wrapped up in a nice bow then this is not the movie for you. If you like to be challenged, even a little bit then I believe you’ll be intrigued and drawn into this world of doubt and misconception.
It is indeed a rough magic. A clever, witty, kind sort of rough magic woven through this production of one of Shakespeare’s stranger tales.
Ambulating through Thompson’s Park, a space for the imagination if ever there was one, this charming, funny and imaginative version enchants us all.
Dull and colourless as this audience is in its raincoats and wellies, we provide a suitably leaden contrast to the spangles and sequins of the cast. Blue against the green leaves, gold against the grey bark. Barque. The puns are smart, the lines are clear. Nothing is left unexplained, untranslated, misinterpreted. It is all done with a competent amusement.
It is a marvellous interpretation. A 1930s cruise, flamboyant characters and the utter bonkersness which this Company does so brilliantly.
One of the things it also does so well is multi-casting. The comedy trio of Stephano, Trinculo and Caliban is just joyous. I absolutely love them – and this audience laughs back into their contorted faces. The three of them swap between roles smartly and provide that bit of Shakespearean slapstick we need between the heavy bits. Caliban is familiar, he reminds me of Moriarty, all cute and smarmy. Handsome as the glorious Miranda’s short (you will have to see it to get that) lover, he is captivating all round.
As is Prospero. A difficult and lengthy role which is delivered with assurance and terrific suavity. The compere of the evening, he is maitre d’ of his Island and of us all. He is appropriately edgy and advances on us loitering observers with confidence, making us fearful of his abilities. His soft voice persuades us to come closer, he is in charge.
Now. Ariel. The singer. The dishy sprite with the admiring backing group. Another tricky role and well played. As are all the roles. The exaggerated expressions, the songs, the comic timing, the acting, is all delightful. There is magic here. There is nothing not to like here. Shakespeare would’ve loved it, loved the inclusiveness of it all, loved the weather it played out in – can we ever control anything, anyone, however powerful we think we are?
We trip into the performance on bright blue boats and trip out wishing Prospero well in his new life. We have understood this complex play in a way we never have before, we have been entertained, educated and included.
Go see – take a lightweight, foldable chair & check the weather forecast as you may need a hat; sensible shoes are de rigeur. Helen Joy for Get the Chance, 3rd Act Critics.
Photography – Jorge Lizalde- Studio Cano TAKING FLIGHT THEATRE COMPANY
presents THE TEMPEST by William Shakespeare
Director- Elise Davison
Designer- Becky Davies
Composer and Musical Director- Dan Lawrence
Costume Maker- Angharad Gamble
BSL consultants- Jean St Clair and Daryl Jackson
Cast
Milton Lopes- Ariel
Dean Rehman- Prospero
Stephanie Back- Miranda
Sian Owens – Antonia/ ensemble
Paul Henshall- Gonzalo
Sami Thorpe- BSL Dance Captain
Sam Bees- Alonso/ Stephano
Ioan Gwyn- Ferdinand/ Caliban
Huw Blainey- Sebastian/ Trinculo
Shannon Davison- ensemble
Lauren Burgess- ensemble
Audio trailer- English
Audio trailer Welsh
*Please contact beth@takingflighttheatre.co.uk or on 07785 947823 to discuss any access requirement. Touch tours and BSL introductions are available by arrangement.
Supported by Arts Council of Wales
JUNE Thompson’s Park, Cardiff (meet at main gate on Romilly Rd) CF5 1FH June 8th 12pm & 6.30pm June 9th 6.30pm June 10th 2pm & 6.30pm
Chapter.org 02920 304400 – The Pavilion, Langland, Swansea SA3 4SF 11th June 2pm
Bryntirion Comprehensive, Bridgend June 15th 6.30pm
Buy on the door
– Elan Valley (meet at visitor centre) LD6 5HP June 16th 12pm & 5pm June 17th 4pm – Roath Park, Cardiff (meet at conservatory) June 18th 6.30pm – Beaumaris Castle LL58 8AP June 21st 7pm – Coed Y Brenin (meet at visitor centre) LL40 2HZ June 22nd 7pm – Denbigh Castle LL16 3NB June 23rd 12pm & 7pm June 24th 2 & 7pm – Loggerheads Country Park (meet at visitor centre) CH7 5LH June 25th 7pm
Tickets also bookable at site – Caerphilly Castle CF83 1JD June 28th 7pm – Strata Florida Abbey SY25 6ES June 29th 7pm – Dylan’s Restaurant, Criccieth LL52 0HU 30th7.30pm
For theatre tickets only please use Ticketsource link
For theatre and dinner tickets email criccieth@dylansrestaurant.co.uk or call 01766 522773 www.dylansrestaurant.co.uk
JULY Hijinx Unity Festival Caernarfon Doc Fictoria July 1st 12pm July 2nd 2pm Free www.hijinx.org.uk/unity
– Bellevue Park Newport (meet at The Tea Rooms) NP20 4EZ July 5th 12pm & 7pm – Tretower Court NP8 1RD July 6th 7pm – Blaise Castle Estate Dairy Farm BS10 7QS July 7th 12pm & 7pm July 8th 2 & 7pm bristolshakespearefestival.org.uk or use ticketsource
– Tretower Court NP8 1RD July 9th 5.30pm – Cyfarthfa Castle, Merthyr (meet at bandstand) CF47 8RE July 11th 12pm & 7pm
– Rhuddlan Castle LL18 5AD July 13th 7pm July 14th 12pm & 7pm – Valle Crucis Abbey, Llangollen LL20 8DD July 15th & 16th 7pm llangollenfringe.co.uk / 0800 1455779 or use ticketsource
– Cilgerran Castle SA43 2SF July 19th 7pm – Stackpole, Nr Pembroke (meet at Lodge Park Woods) Carpark postcode SA71 5DE July 20th 7pm July 21st 12pm & 7pm July 22nd 2 & 7pm
– Hilton Court, Haverfordwest SA62 5AE July 23rd 6.30pm – Beechenhurst Lodge, Forest of Dean GL16 7EG July 25th 7pm – Tintern Abbey NP16 6SE July 26th 7pm – Kidwelly Castle SA17 5BQ July 28th 7pm – Trelai Pavilion, Trelai Park, Ely, Cardiff CF5 5AQ July 29th 12pm
Taking Flight Theatre Company (TFTC) was formed by Beth House and Elise Davison in 2008. Beth met Elise whilst working on a youth theatre project in South Wales. Having worked extensively together since then on a freelance basis, they decided to make it official and set up Taking Flight Theatre Company. Our aim with this company is to work with groups of people who have traditionally been underrepresented in theatre, film and television, and to make fully accessible and integrated theatre for all ages. Taking flight Theatre Company regularly tour to some of the most gorgeous open spaces across Wales (and occasionally England) with beautifully realised Shakespearean adventures every summer. TFTC have also led on a Welsh Government initiative tackling Disability Hate Crime for the last 3 autumns- reaching over 9,000 young people in the last 3 years. TFTC also perform festival and street theatre pieces during the summer. You’ve Got Dragons is their first production especially developed for theatres and professional and community performance spaces.
Taking Flight Theatre Company have an integrated casting policy which goes hand in hand with their belief in creating fully accessible and integrated theatre- employing the best creative talent regardless of visible and invisible abilities. Our philosophy reaches out to performers who might traditionally have been overlooked by mainstream theatre, and as such they often employ disabled, D/deaf and sensory impaired performers, placing positive disabled role models centre stage.
Website: takingflighttheatre.co.uk
Follow us at: @takingflightco
Like our Facebook page: https://www.facebook.com/Takingflightco/ Selection of cast biographies
Ioan Gwyn
Following 4 years of touring theatre across Wales with various companies (Arad Goch, Bara Caws, Mess up the Mess), Ioan went on to study a Masters in Classical Acting at the Central School of Speech and Drama. Since graduation he has performed in a variety of classical plays such as Volpone, Cymbeline and a one-off performance in Shakespeare’s Globe of an unearthed play by Thomas Jordan, Tricks of Youth.
Aside from performing Richard III at The Tower of London, this is Ioan’s first outdoor theatre tour, and he looks forward to the inevitable performance in the rain!
Paul Henshall
Paul trained at Manchester Metropolitan School of Theatre.
He has worked extensively in theatre, and his TV credits include; Dr Dean West: Holby City, Paul Ball: I’m With Stupid, Michael Scant: A Thing Called Love, Ollie Beresford: Casualty, David Hobbs: Playing the Field, all for BBC. Prankster: Off Their Rockers – Blue Badge Special, ITV
Paul was the first disabled person in the country to gain a qualification in stage combat from the British Academy of Dramatic Combat, and in 2007 he was awarded an Honorary Doctorate from Staffordshire University for services to acting and the promotion of disabled actors.
Paul is also a trained and registered Hypnotist, specialising in confidence, stage fright and phobias, and also performs comedy stage hypnosis shows
Young Critic Jonathan Evans used Spice Time Credits to access this performance at Chapter cinema. He earned the Time Credits reviewing for Get the Chance. “What is a man? If his chief good and market of his time Be but to sleep and feed? A beast, no more.”
William Shakespeare, Hamlet. (4 / 5)
The Red Turtle is the kind of movie that doesn’t get made often. A movie that exists, sure of what it is and never attempts to explain itself.
I couldn’t even tell you what the “target demographic” for the movie is. It’s an animated movie, typically for children, but there’s nothing cute or funny happening, nothing scary or brutal either so not specifically for adults. Could this just be a movie for people?
The plot for this movie is so minimal. Man wakes on a shore and finds that he is stranded on an island. What does he do then? Survive and try to get back to civilisation. He tries building a raft but it keeps getting destroyed by a large red turtle (hence the title). This leads to other things and eventually he is joined by a woman and then a son comes along.
This movie exists without any spoken words of dialogue, only movements and images. The lead gives off the occasional huff and puff and a scream here and there, but no full words. This means that the visuals have to ring with absolute clarity, whatever the Man is doing or where he is has to be immediately obvious. Without the dialogue it must fall on the sound and music to keep us engaged on the audio level. Every swish of the waves, footsteps on sand or rock is perfectly clear and adjusted to the right level. Laurent Perez Del Mar delivers an emotional and at other times ethereal score that infuses itself so well with the images onscreen that the two harmonise in the most beautiful way.
The drawing style, particularly with the people, is more European. Like the works of Herge, thick, clear lines with black dots for eyes and vivid colours. The animation is constantly smooth and on-model. It is the backgrounds that have sharpest rendering to them, we are able to see every leaf on the trees and plants that grow on the ground as well as seeing way into the background.
This movie, I admit, a challenge to write for. It is so simple, to experience the product is the most thrilling part but to deeply describe it is indeed the challenge. It simply operates at such a minimal, smooth passe.
Who is this movie for? What was it’s purpose? Well it was beautiful and technically very impressive. But who exactly do I think the marked for it is and how to promote it? But maybe we don’t always need that from this medium that can deliver us so much. Maybe sometimes we are allowed to sit back and see and hear a journey and simply be moved by it.
Please click on the link below to listen to Hannah’s audio review of Attack on Titan (seasons 1 and 2)
https://soundcloud.com/user-763014624/attack-on-titan-review
https://youtu.be/6scZ1qj2w38
https://youtu.be/m9l1sZ-fRVA
https://youtu.be/AKbbMsvyOpo
A ‘dino-mite’ exhibition for families
Truth be told, I was a bit apprehensive that my 3 year old would be too young to get much out of the new Dinosaur Babies exhibition at the National Museum, Cardiff. He’s not fanatical about them like many of his little chums, and would really prefer to play diggers than dino’s given the choice, but in an effort to support the learning he’s been doing on dinosaurs in nursery, I arranged a family visit anyway.
I need not have worried. Even after a bout of tears in the foyer on spotting a staff member wearing the world’s least scary dinosaur onesie, he was quickly distracted and won over by the variety of interactive exhibits on offer. The content of the exhibition is displayed using a range of tactile models, large images with captions, real and model skeletons, an animatronic dinosaur and traditional displays in cabinets with short easy-to-read descriptions. Many of the real ‘show-stopping’ skeleton exhibits are housed in low glass cases that can be viewed all the way around, making it accessible for little ones and easier for everyone to get a good view even at busy periods.
As a family we’re still pretty new to this type of educational, family experience and museums have moved on apace since our childhood, so I chuckled when my husband told our son not to touch one of the egg models which was screaming out for little fingers to pat and stroke it, but there were plenty of helpful staff around to reassure and encourage children to touch the exhibits – and even to ride on one of the dinosaurs!
Working as a team to dismantle and reassemble a large section of a leg bone, proved a popular activity with the little ones giving the grown-ups additional time to browse the nearby cabinets and learn about some of the most rare and exciting finds like ‘Baby Louie’ who had scientists confused until the first example of a new species of giant oviraptor was discovered as recently as 2007. The highlight for me though were the three real dinosaur eggs in which you can still clearly see the fragile bones of the unhatched animals inside.
The highlight for our little one (and most of the younger visitors there), was most definitely the opportunity to play ‘palaeontologist’ for the morning. Sporting his safety goggles, he whiled away at least half an hour digging in the large pit hunting for bones and eggs, then joining in with other children carefully brushing away the ‘earth’ to uncover their finds. The activity stations at the end of the exhibition area are perfect for very young children, and we spent a happy hour or so counting dinosaur eggs, practicing letter recognition with the magnetic letters and doing the large dinosaur jigsaw puzzles on the board.
The exhibition really lives up to the claim that it is ‘family friendly’ and it genuinely manages to achieve that tricky balance of appealing to all ages and levels of interest in the subject, so even if like me you have family members that can best be described as ‘can’t read, won’t read’ don’t be put off giving this exhibition a try. I would seriously consider going again with my nephews who are 10 and 7, and know that my son would be really excited to go again. Even better is the fact that it’s free for the under 4s (yet there is plenty that appeals to them), and with a family ticket (2 adults and 2 children up to 17) at only £17 it represents superb value for money. Dinosaur Babies Exhibition, National Museum of Wales, Cardiff 27 May–5 November 2017, 10am-4.45pm (last entry 4pm) Cost £7 adults, £5 concessions, £3 children, £17/£13 families https://museum.wales/cardiff/whatson/9487/Dinosaur-Babies/
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(5 / 5)
(3 / 5)
(4 / 5)
